Music 
Lib. 
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lifornia 
onal 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


MEREDITH  WILLSON  LIBRARY 
STANLEY  RING  COLLECTION 

MUSIC 

LIBRARY 


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9 


1 


HOW     TO     WRITE 
A    POPULAR    SONG 

By      CHARLES      K.      HARRIS 
Author  of  "After  the  Ball" 


New  York 


PUBLISHED  BY 

CHARLES  K.  HARRIS 
Chicago 


London 


COPYRIGHT  BY 

CHAS.  K.  HARRIS 

1906 


All  Rights  Reserved 
Published   December   ist,   1906 


Music 
Library 


4-0 


CONTENTS 

Biography  1 

Introductory  10 
Chapters 

I.     Lyric  Writing  11 

II.     The  Musical  Setting  or  Melody  18 

HI.      The  Accompaniment  26 

IV.     Finishing  Touches  Previous  to  Publication  46 

V.      Printing  and  Publishing  Your  Own  Composition  49 

VI.     Presenting  Manuscript  to  a  Publisher— Selling 

Outright— Royalties,  Etc.  54 

VIL     Hints  and  Dont's     -  59 

Vlll.      Dictionary  of  Rhymes      -  65 


BIOGRAPHY 


Charles  K.  Harris  was  born  at  Poughkeepsie,  N.  Y.,  on 
May  1st,  18G5.  Mr.  Harris  has  been  composing  songs  ever 
since  he  was  twelve  years  of  age.  As  a  boy  he  could  play  al- 
most any  instrument  and  he  used  to  compose  songs  for  spe- 
cial occasions  and  accompany  himself  on  the  banjo.  Gradual- 
ly Mr.  Harris  drifted  into  professional  song-writing  and 
would  compose  songs  to  order  for  $10.00  and  $20.00  a  piece, 
for  all  sorts  of  professional  people,  from  the  highest  to  the 
lowest.  Nowadays,  Mr,  Harris  is  able  to  sell  his  songs  and 
almost  estimate  their  sale  even  before  they  are  written  be- 
cause his  name  has  become  so  closely  identified  with  songs 
of  a  home-like  and  simple  story  character  that  the  public  buy 
a  piece  of  music,  with  Charles  K.  Harris  as  author,  often  for 
no  other  reason  than  that  of  the  authors  name.  Mr.  Harris 
is  now  the  head  of  his  great  publishing  firm  and  has  no  part- 
ners, being  the  only  composer-publisher  in  the  world  who  con- 
trols his  business  without  the  aid  of  partners.  His  record  is 
one  of  long  and  continued  success  and  should  constitute  a 
distinct  source  of  encouragement  to  every  aspiring  amateur 
song- writer.  Hut,  to  give  a  better  idea  of  his  remarkable 
success,  we  will  quote  Mr.  Harris'  own  words: 

"As  I  am  a  writer  of  popular  songs,  perhaps  my  career  in 
this  field  will  prove  better  than  any  argument  I  might  make 
that  my  contention  is  correct  when  I  state  unreservedly  that 
popular  song  hits  are  on  the-  increase  instead  of  waning  in 
public  .appreciation  and  support.  My  tirst  hvo  songs  which 


were  written  for  I'cter  linker,  "Creep,  Baby,  (Veep,"'  and 
"Can  Hearts  »v'o  Soon  Forget,"  were  pl;iee<l  with  A.  A. 
Fischer,  a  publisher  in  .Milwaukee.  One  thousand  copies  of 
vach  were  sold,  and  at  that  time  (fifteen  years  ago)  this  was 
counted  a  large  ssile.  My  next,  "Hello  Central,  Hello,"  was 
sung  hy  Charles  Horwit/,  and  about  three;  thousand  copies 
were  sold,  whirh  in  those  days  was  considered  very  good  for 
a  popular  ballad.  Two  more,  "Humming  Baby  to  Sleep," 
and  "1  Wonder,"  were  placed  with  S.  Braiuerd  &  Sons,  Chi- 
cago. About  one  thousand  five  hundred  copies  were  sold  of 
each,  and  1  was  supposed  to  be  doing  very  well.  , 

But  what  really  started  the  popular  song  on  its  meteoric 
career  were  "After  the  Hall"  and  k'Kiss  and  Let's  Make  Up." 
These  made  the  popular  song  business  what  it  is  to-day  and 
presented  a  new  idea  to  the  music-loving  public — a  complete 
story,  combined  with  good  and  catchy  music.  w  The  idea 
sprang  at  once  into  popularity  and  has  been  steadily  grow- 
ing. At  that  time  Uie  songs  then  in  vogue  were  founded  on 
stories  of  the  sea  and  so-called  high-class  ballads  of  the  "Thee" 
and  "Thou"  species.  These  are  scarcely  heard  nowadays. 

"After  the  Ball"  lay  upon  the  shelf  for  over  a  year,  no 
singer  caring  to  take  it  up  on  account  of  its  extreme  length. 
It  contains  three  long  verses,  tells  a  complete  story,  and  is 
in  reality,  a  condensed  drama.  After  a  great  deal  of  hustling, 
hard  work  and  persistent  effort,  a  copy  of  it  reached  Miss  May 
Irwin,  and,  being  introduced  by  her  on  Broadway,  created  a 
sensation.  .It  was  then  introduced  in  Milwaukee  by  James 
Aldrich  Lihbey,  in  Hoyt's  "A  Trip  to  Chinatown"  Company, 
and  on  the  Coast  by  Dick  Jose,  while  Helen  Mora  sang  it  in 
the  leading  vaudeville  houses  throughout  the  country.  That 
proved  the  first  popular  song  educator.  This  was  followed  by 
"Kiss  and  Let's  Make  Up,"  another  story  song,  which  also 


scored  heavily.  Still  the  old-time  publishers  continues 
frown  upon  the  popular  songs,  calling  them  trash  and  insist- 
ing that  there  would  he  no  demand  for  such  ruhhish  when 
"After  the  Hall"  died  <mt.  Hut  they  were  behind  the,  times 
as  "Kiss  and  Let'h  Make  Up'1  proved  that  the  puhlic  wanted 
a  song  with  a  story — a  story  with  a  moral. 

The  next  diih'culty  that  confronted  me  was  to  get  new 
topics  for  songs.  It  was  claimed  that  there  would  not  be 
topics  enough  which  would  prove  acceptable,  but  I  kept  close 
watch  on  the  current  events  of  the  day.  Being  an  inveterate 
theatre-goer,  I  received  many  suggestions  from  the  stage. 
For  example,  about  ten  years  ago  such  plays  as  "The  Second 
Mrs.  Tanqueray"  and  "The  Crust  of  Society''  were  in  vogue. 
1  then  wrote  "Cast  Aside,''  "Fallen  by  the  Wayside"  und 
"There'll  Come  a  Time  Some  Day.-'  The  public  snapped  at 
them.  Over  300,000  copies  were  printed  of  each  of  these 
songs,  amounting  to  almost  one  million  copies.  Them  came 
an  era  of  society  dramas,  such  as-Bclasco's  "Charity  Ball" 
and  "The  Wife."  I  wrote  and  published  at  that  time  "While 
the  Dance  Goes  On,"  "Hearts,"  "You'll  Never  Know,"  and 
"Can  Hearts  So  Soon  Forget,"  which  sold  enormously. 

Despite  these  successes  the  old  fogy  publishers  and  music 
trade  buyers  were  still  skeptical  and  would  only  purchase  in 
quantities  to  fill  absolute  orders.  They  would  not  advertise 
my  songs  nor  announce  them  in  their  catalogues  or  advertise- 
ments, leaving  it  entirely  to  the  composer  to  create  a  demand 
for  his  compositions. 

During  the  J.  K.  Emmet,  W.  J.  Scanlon  and  Gus  Williams 
epoch  I  wrote  "Humming  Baby  to  Sleep,"  "Creep,  Baby, 
Creep,"  and  "School  Bells,"  differing  entirely  from  those 
heretofore  mentioned.  Then  came  Bronsou  Howard's  "Shen- 
audoah,"  Gillette's  "Held  by  the  Enemy,"  "Secret  Service,1' 

3 


.,  showing  military  dramas  to  be  the  vogue.  I  composed 
two  soldier  songs,  "Just  Tell  Her  That  I  Loved  Her  Too" 
and  "Break  the  News  to  Mother,"  both  proving  enormous 
hits  and  putting  the  popular  song  a  notch  higher  in  the  es- 
timation of  both  the  music  trade  and  the  music-loving  public. 

Eventually  Zaugwill's  "Children  of  the  Ghetto"  and  Jacob 
Lilt's  productions  of  "The  Ghetto"  and  "Zora"  held  the 
boards.  It  was  then  I  wrote  the  song  story,  "A  Kabbi's 
Daughter,"  which  also  had  a  large  sale.  Contemporaneously 
with  the  pastoral  dramas  like  "Way  Down  East,"  "Bhore 
Acres,"  etc.,  1  wrote  "Mid  tin1;  Greenfields  of  Virginia"  and 
"In  the  Hills  of  Old  Carolina." 

After  these  there  came  a  craze  for  ragtime,  and  it  looked 
as  though  the  descriptive  love  story  and  child  songs  would  be 
forever  discarded.  The  Williams  and  Walker  "Black  Patti" 
and  other  colored  organizations  were  the  rage  for  a  time,  all 
of  them  featuring  ragtime  music.  Not  to  be  outdone,  I  wrote 
"Ma  Black  Tulip"  and  "Don't  Forget  to  Tell  Me  That  You 
Love  Me  Honey,"  both  successes. 

Eventually  the  public  became  satiated  with  ragtime  and  I 
cast  about  for  a  new  theme,  having  covered  the  ground  pretty 
thoroughly  for  so  many  years. 

Just  then  Julia  Marlowe  scored  in  "When  Knighthood 
Was  in  Flower,"  a  drama  with  heart  interest.  I  promptly 
brought  forth  "I've  a  Longing  in  My  Heart  for  You,  Louise," 
and  "I'm  Wearing  My  Heart  Away  For  You."  The  sale  of 
those  two  songs  reached  over  one  million  copies. 

A  few  years  ago  I  witnessed  a  performance  of  one  of 
Theodore  Kreraer's  melodramas,  the  principal  character  in  it 
being  a  child.  "The  Little  Princess"  was  announced  for  pro- 
duction here  and  I  presented  for  public  approval  the  now 
celebrated  child  song,  "Hello  Central,  Give  Me  Heaven,"  fol- 


lowing  it  (at  the  earnest  solicitation  of  the  trade)  with 
another  entitled,  ''Always  in  the  Way,"  the  sales  of  which,  I 
think,  will  equal  tin-  enormous  figures  attained  by  "After  the 
Hall  "  1  then  gave  to  the  now  expectant  public  "For  Sale, 
A  l»aby,'T  another  enormous  hit.  The  ideu,  for  this  song  was 
suggested  to  me  by  a  story  in  the  daily  papers,  detailing  the 
agony  of  an  unforhuiate  woman  who  offered  her  child  for 
sale  because  she  was-  nimble  to  care  for  it  So  great  has  the 
demand  become  for  my  works  thnt  50,000  copies  were  be- 
spoken for  another  child  soi»g,  "Why  Hon't  They'  IMay  With 
Me 

It  is  the  composers  who  originate  who  win  fame.  Many 
song-writers  think  they  can  score  by  copying  another  idea 
that  is  <>n  the  market,  either  in  title  or  music  Occasionally 
.they  come  near  it,  but  as  a  rule  the  public  has  no  sympathy 
with  imitators  and  the  name  of  a?  well-known  composer  on.  an 
imitation  is  like-Jy  to  act  as  a  boomerang  Originality  always' 
pays  The  easiest  way  for  a  composer- of  music  or  a  lyric 
wuiter  to  keep  up  to  date  is  to  watch  the  trend  of  events  in 
the  daily  papers 

Another — and  very  important — reason  why  popular  songs 
nre  in  greater  demand  to-day  than  heretofore  lies  in  the  fact 
that  only  a  few  years  ago  a  person  who  was  the  proud  owner 
of  a  piano  was  looked  upon  as  the  possessor  of  wealth.  In 
these  days  every  workin'gmaii  who  lias  a  family  owns  a  piano, 
an  organ,  banjo,  guitar  or  mandolin,  and  frequently  several 
instruments  may  be  found  in  a.  single  family.  Of  course,  this 
creates  a  demand  for  the  lighter  class  of  popular  music. 

Then  again,  the  public  schools  all  teach  the  rudiments  of 
music,  free  scholarships  in  conservatories  have  been  estab- 
lished, which  induces  a  large  number  of  young  folks  to  com- 
pete. In  fact,  it  is  almost  as  much  a  part  of  a  child's  educa- 


turn  as  learning  to  read  and  write.  I  might  go  even  farther 
and1  say  that  every  girl  in  the  United  States  whose  parents 
can  possibly  afford  it  is  to-day  receiving  music  lessons. 

A  large  demand  for  popular  songs  is  also  created  by  the 
phonographs,  gniphophones,  pianolas  and  automatic  instru- 
ments of  all  kinds. 

It  must  also  be  remembered  that  until  a  few  years  ago 
there  was  110  such  thing  as  a  vaudeville  show,  merely  a  few 
variety  houses,  patronized  by  men  only.  As  there  were  no 
women  and  children  in  the  audience,  popular  ballads  could 
not  be  heard  by  those  who  now  purchase  them.  Minstrel 
shows  were  the  only  performances  where  a  ballad  was  sung. 
This  has  all  been  changed.  At  least  one  vaudeville  theatre 
has  been  established  in  every  city  of  any  size  in  the  United 
States.  If  the  audience  hoars  a  song  that  strikes  its  fancy, 
the  local  dealer  is  promptly  besieged  with  orders.  The*vaude- 
ville  houses  to-day  present  the  best  singers  that  the  market 
affords,  where  only  a  few  years  ago  a  high -class  singer  on  the 
variety  stage  was  unknown. 

The  final  prejudices  against  the  popular  ballad  by  high- 
class  singers  were  overcome  when  Mine.  Adelina  Patti  intro- 
duced and  sang  in  America  on  hoi-  fare-well  tour  a  song  writ- 
ten by  me,  especially  for  the  occasion,  entitled  "The  Last 
Farewell."  That  broke  down  all  harriers,  and  to-day  any 
high-class  performer  in  the  world  will  gladly  sing  a  popular 
ballad. 

The  illustration  of  songs  has  al,->o  helped  to  make  them 
popular.  Having  the  scenes  and  characiers  of  a  song  thrown 
upon  a  canvas  during  its  rendition  li.is  proved  a  great  hit  in 
every  city  where  it  has  been  introduced,  and,  as  all  my  songs 
readily  lend  themselves  to  illustration,  it  has  aided  in  popu- 
larizing them.  I  have  s"ijt  photographers  to  such  distant 


points  as  California,  Texas,  Alaska,  and  even  the  Philippines, 
wherever  a  scene  is  laid,  to  secure  original  photographs  taken 
on  the  spot.  A  set  of  negatives  frequently  costs  as  much  as 
$1,500.  But  the  public  wants  the  best  and  shows  its  appre- 
ciation when  it  receives  it.  The  sale  of  songs  shows  that  the 
American  public  appreciates  originality  in  song  composition 
as  in  everything  else. 

,  Only  a  few  years  ago  a  sheet  music  counter  in  a  depart' 
ment  store  was  unheard  of.  To-day  in  the  largest  dry  goods 
emporiums  and  department  stores  in  New  York,  down  to  the 
smallest  in  every  city  in  the  United  States,  can  be  found  a 
music  counter  where  all  the  popular  songs  of  the  day  are  on 
sale. 

Musical  comedy,  which  has  been  the  rage  for  the  past  few 
years,  has  also  been  instrumental  in  creating  and  increasing 
the  sale  of  popular  songs,  as  a  musical  comedy  is  made  up 
almost  entirely  of  popular  music." 

It  may  also  be  interesting  to  the  readers  of  this  book  to 
glance  over  the  remarkable  list  of  popular  song  hits  written 
and  composed,  both  words  and  music,  by  Mr.  Harris.  Each 
and  every  song  on  ike  list  hos  sold  over  oue  hundred  thousand 
copies,  while  some  have  sold  as  liigh  as  one  million  and  a  half: 

"All  for  the  Love  of  a  Girl,"  "After  the  Ball,"  "After 
Nine,"  "A  Rabbi's  Daughter,"  "Always  in  the  Way,"  "Break 
the  News  to  Mother,"  "Better  Than  Gold,"  "Before  and  After 
Taken,"  "Cast  Aside,"  "Creep,  Baby,  Creep,"  "Can  Hearts 
So  Soon  Forget,"  "Dear  College  Chums,"  "Don't  Forget  io 
Tell  Me  That  You  Loves  Me  Honey,"  "Do  You  Think  You 
Could  Learn  to  Love  Me."  4'J>own  in  the  Vale  of  Shenandoah," 
"Dreaming  Love  of  You,"  "Fallen  by  the  Wayside, v  "Fifty 
Years  Ago,"  "For  Old  Times'  Sake,".  "Farewell,  Sweetheart 
May,"  "For  Sale,  A  Baby."  "Fly  Away  Birdie  to  Heaven," 


"Hearts,"    "Humming    Baby    to    Sleep/'    "Hello,    Central, 
Hello,"  "Hello  Central,  Give  Me  Heaven,"  "I've  Just  Come 
Back  to  Say  Good-bye,"  "I've  Been  Faithful  to  You,"  "I  Love 
Her  Jfust  the  Same,"  "Is  Life  Worth  Living,"  "I  Love  You  in 
Spite  of  All,"  "I  Was  Talking  in  My  Sleep,"  "I  Wonder,  I 
Wonder,"  "I  Heard  Her  Voice  Again,"  "1  Used  to  Know  Her 
Years  Ago,"  "I've  a  Longing  in  My  Heart,  for  You,  Louise," 
"In  the  Hills  of  Old  Carolina,"  "I'm  Wearing  My  Heart 
Away  for  You,"  "In  Dear  Old  Fairyland,"  "In  the  Good  Old 
Fashioned  Way,"  "I'm  Trying  So  Hard   to  Forget  You," 
"Just  Behind  the  Times,"  "Just  Tell  Her  That  I  Loved  Her 
Too,"  "Just  One  Kiss,"  "Just  Next  Door,"  "Just  A  Gleam  of 
Heaven  in  Her  Eyes,"  "Kiss  and  Let's  Make  Up,"  "Leonie 
Queen  of  My  Heart,"  "Little  Sweetheart,"  "Last  Night  as  the 
Moon  was  Shining,  "Love  and  Kisses"  (Caprice),  "Ma  Fili- 
pino Babe,"  "Mid  the  Greenfields  of  Virginia,"  "Ma  Black 
Tulip,"  "Must   We   Say  Good-bye   Forever,    Nellie   Dear," 
"Only  a  Tangle  of  Golden  Curls,"  "One  Night  in  June,"  "On 
the    Sands    at    Night,"    "Sitting    by    the    Kitchen    Door," 
"Strangers,"  "Since  Katie  Rides  a  Wheel,"  "School  Bells," 
"Sweet  Maid  Divine,"  "There  is  No  Flag  Like  the  lied,  White 
and  Blue,"  "The  Organ  grin  dor's  Serenade,"  "There'll  Coine 
a  Time,"  "Then  Comes  the  Sad  Awakening,"  "Too  Late! 
Alas,  Too  Late!"  "Tin  Not  Always  Bullets  that  Kill,"  "The 
Tie  That  Binds,"  "The  Last,  Farewell"  ( Adelina  Patti's  Fare- 
well Song),  "The  Girls  of  My  Dreams,"  "Will  I  Find  My 
Mamma  There,"  "While  the  Dance  Goes  On,"  "When  the 
Lights  Went  Out,"  "Which  Shall  It  Be,"  "Waiting  for  Foot- 
steps That  Never  Came,"  "What  Does  the  Flower  Say,"  "My 
Heart  is  Weary  Just  for  You,"  "Linda,  Can't  You  Love  Your 
Joe,"  "Suppose  I'd  Meet  You  Face  to  Fae<v"  "Through  the 
Old  Farm  Gate,"  "Nobody  Knows,  Nobody  Cares,"  "Only  to 


Hord  You  in  My  Arms  Again,"  "I  Do  Not  Blame  You  Dar- 
ling," "And  a  Little  Child  Shall  Lead  Them,"  "Belle  of  the 
Ball/'  etc. 

Page  upon  page  might  be  written  setting  forth  facts  as  to 
why  the  popular  song  is  growing  in  public  favor  and  will 
always  grow  as  long  as  there  are  musical  instruments  and 

stages  to  exploit  it  and  as  long  as  the  world  produces  com- 
posers with  originality. 


INTRODUCTORY. 

In  presenting  this  book  to  the  amateur  song  writers  and 
composers  of  America  the  aim  has  been  to  treat  the  various 
subjects  and  chapters  in  a  form  that  is  comprehensible  and 
easily  understood  by  all.  Technical  and  foreign  terms  have 
been  avoided  as  far  as  possible,  and  wherever  it  has  been  ne- 
cessary to  make  use  of  them  an  explanation  in  plain  English 
follows. 

It  must  also  be  clearly  understood  that  there  is  no  inten- 
tion of  conveying  the  impression  that  in  this  short  treatise 
on  the  subject  of  popular  song-writing  will  be  found  any 
secret  formula  for  the  creation  of  talent  and  genius  in  this 
particular  line  of  work.  Talent  and  genius,  often  latent  in 
some  persons,  are  never  acquired.  They  are  the  gifts  of 
Nature,  and  unless  she  has  bestowed  them  in  greater  or  less 
degree  upon  the  individual,  the  purpose  of  this  book  in  seek- 
ing to  open  the  way  and  make  the  path  clear,  will  avail  noth- 
ing. The  remarks,  rules  and  suggestions  offered  herein  are 
the  fruits  of  many  years  of  practical  experience,  and  are 
those  which  have  been  closely  observed  by  all  the  great  song 
writers  and  composers. 

The  word  "popular,"  as  used  in  this  treatise  in  reference 
to  songs,  has  been  employed  to  expressly  designate  the  various 
classes  of  songs  which  are  written,  published  and  sung, 
whistled  and  hummed  by  the  great  American  "unmusical" 
public,  as  distinguished  from  the  more  highly  cultivated 
musical  class  which  often  decries  and  scoffs  at  the  tantalizing 
and  ear-haunting  melodies  that,  are  heard  from  ocean  to 
ocean  in  every  shape  and  form.  Argument  in  f.-ivor  of  their 
merit  is  undoubtedly  pri»wi  beyond  question  by  their  enor- 
mous sale;  and  many  a  sad  and  weary  henri  has  IKM-II  made 
gl.id  l>\  :l;e  strains  <»f  llicse  "popular"  song*. 

10 


CHAPTER  I. 
LYRIC-  WitiTiN'j. 

Different  Style*  of  Song$. 

To  the  ambitious  amateur  writer  of  song  lyrics,  more 
especially  those  that  come  under  the  head  of  "popular" 
songs,  naturally  arises  the  question,  "What  kind  of  a  song 
shall  I  write  to  achieve  fame  and  success?''  First  of  all,  it  is 
necessary  that  the  writer  acquaint  himself  with  the  various 
style  or  styles  of  song  that  happen  to  be  in  vogiie.  This,  of 
course,  can  easily  be  ascertained,  either  by  following  the  per- 
formances at  the  theatres,  or  by  carefully  noting  the  display 
of  music  at  the  stores.  It  is  practically  useless,  of  course,  to 
write  in  a  style  or  on  a  subject  which  has  already  run  the 
gamut  of  "popular''  demand.  For  instance,  the  day  of  the 
rough  Coon  song,  the  Indian  song,  and  several  others,  is  tem- 
porarily over;  and  no  matter  how  well  written  a  song  on  such 
subjects  as  these  may  be,  it  will  not  "take"  or  be  accepted  by 
the  public.  Styles  in  songs  change  as  quickly  as  those  in 
ladies'  millinery.  Each  seems  to  have  a  cycle  which  comes 
and  goes,  and  whose  length  of  life  is  only  increased  orcasion- 
ally  by  the  introduction  of  some  new  idea  which  is  merely 
wedged  into  the  original  style,  or  mode.  One  season  Coon 
songs  may  be  all  the  rage,  then  suddenly  the  simple  love 
ballad  sets  the  pace,  only  to  give  way  in  turn  to  something 
else  that  hits  the  fancy  of  a  public  that  is  always  capricious 
in  these  matters,  whatever  it  may  be  in  others. 

Some  sudden  National,  or  big  public  disturbance  or  sensa- 
tion, will  bring  about  a  den) and  and  create  an  interest  in  cer- 
tain styles  of  song,  where  new  ideas,  or  more  often  old  ideas 


made  to  look  like  new,  are  worked  in  and  adapted  to  the 
special  occasion  or  circumstances  that  are  for  the  moment 
engrossing  public  attention  Thu«,  for  instance,  the  outbreak 
of  war  is  always  followed  by  the  publication  of  every  conceiv- 
able kind  of  "war  song/'  of  which  "Just  Break  the  News  to 
Mother"  was  a  recent  and  notable  example. 

The*  late  war  between  Russia-  and  Japan  aroused  in- 
terest in  Japanese  songs,  not  ueccssarily  treating  on  war 
themes,  but  Japanese  in  subject  and  atmosphere.  When  the 
great  battleship,  "The  Maine,"  was  destroyed,  two  songs, 
written  around  this  tragedy,  namely,  "'Tis  not  Always  Bullets 
That  Kill"  and  "Just  tell  Her  That  I  Ix>ved  Her  Too," 
achieved  great  success.  The  St  Louis  Pair  gave  birth  to 
numberless  songs  having  reference  to  "The  Pike";  and 
new  fashions  and  customs,  as  well  as  a  thousand  other 
incidents  and  causes,  could  be  mentioned  as  haviug.lK»en  re- 
sponsible for  certain  styles  in  songs 

Songs,  however,  are  usually  classified,  by  Hie  writers,  pub- 
lishers, and  trade,  wilder  the  following  principal  heads: 

a. — The  Home,  or  Mother  Song. 

b. — The  Descriptive,  or -Sensational  Story  Ballad, 

^. — The  popular  Waltz  Song.  (On  ;i  thousand  and  one 
subjects.) 

d. — The  Coon  Song.  (Rough,  Comic,  Refined,  Love  or 
Serenade,  etc. ) 

e. — The  March  Song.  (Patriotic,  War,  Girl,  Character, 
etc.) 

f. — The  Comic  Song."     (Topical,  Character,  Dialect,  etc.) 

g. — Tlic  Product  ion  Song  (for  Interpolation  in  big  Musi- 
cal Productions,  entailing  tbc  use  of  a  Chorus  of 
Men,  or  Girls,  or  both,  and  certain  novel  action, 
costume,  or  business.) 


h. — The  Popular  Love  Ballad. 

j. — High  (Mass  Ballads. 

k. — Sacred  Songs. 

There  are,  of  course,  many  subdivisions  and  classifications 
about  which  it  is  not  necessary  to  enter  into  detail,  however, 
as  each  of  the  above  heads  will  be  treated  separately  in  an- 
other chapter. 

The  lyric  writer  should  bear  in  mind  that  originality,  con- 
ciseness, good  metre  and  rhythm,  and  above*  all,  good  gram- 
mar, are  the  main  essentials  required.  If  the  song  be  Char- 
acter, Dialect,  or  otherwise,  the  lyric  writer  should  be  care- 
ful to  keep  in  the  atmosphere  of  the  subject,  to  seek  strong 
points  and  good  wit  wherever  applicable.  If  you  cannot  write 
lyrics  for  a  certain  style  of  song,  don't  attempt  it.  "Every 
man  to  his  last"  is  a  very  wise  and  practical  axiom  for  lyric 
or  melody  writers  of  popular  songs. 

Choice  of  good  singable  words  in  the  writing  of  lyrics  is 
also  vital.  Words  with  harsh  consonants,  many  syllable*] 
words,  words  or  phrases  that  do  not  seem  to  speak  or  sing 
smoothly,  should  be  studiously  discarded.  Tell  your  tale 
tersely,  make  it  as  strong  as  possible,  and  let  it  almost  sing 
itself  as  you  recite  it. 

In  most  song  lyrics,  excepting  those  for  topical,  or  comic 
songs,  two  verses  are  ample.  One  argument  in  favor  of  this 
is,  that  the  public  singer  of  your  songs,  who  is,  of  course,  its 
best  advertisement,  rarely  cares  to  use  more  than  two  verses. 
If  three  are  written,  and  the  third  verse  contains,  as  it  nat- 
urally would,  the  climax,  or  moral  of  your  story,  the  public 
seldom  hears  it  sung,  and  accordingly  entertains  a  totally 
wrong  impression  as  to  the  merits  of  your  composition, 
which  to  them  appears  unfinished,  and,  therefore,  uninterest- 
ing. Thus,  a  handicap  is  attached  to  the  song  at  the  outset. 

IB 


A  very  important  point  is  the  construction  of  the  Ilefra'in, 
or  Chorus,  of  the  son*;.  Upon  this  part  of  the  composition 
rests,  in  a  majority  of  instances,  the  ultimate  success  or  fail- 
ure of  a  song.  Wherever  possible,  it  is  a  very  wise  plan  to 
write  your  chorus  words  so  that  they  are  equally  applicable 
to  every  verse.  There  are  exceptions  to  this,  of  course,  but 
it  is  well  to  apply  this  rule  pretty  generally,  as  the  public 
readily  retains  the  words  of  the  one  refrain,  whereas  two 
different  sets  often  retard  popularity.  In  Comic,  or  Topical 
songs,  the  two  or  three  lines  preceding  the  last  one  are  fre- 
quently varied,  as  they  contain  the;  "laugh"  or  "gag"  line — 
in  other  words,  the  strong  point  of  the  verse  is  here  revealed. 
Tlif  last  line  in  the  chorus,  or  refrain,  is  very  rarely  changed, 
as  nearly  all  songs  that  come  under  the  head  of  "Popular" 
depend  on  this  line  for  their  title.  To  put  it  shortly,  get  a 
good  line  for  the  linixh  of  your  chorus,  and  your  successful 
title  is  assured.  It  is  hardly  necessary  to  add  that  a  really 
good  title  is  almost  everything,  though  to  find  one  is  almost 
as  dillieult  as  the  naming  of  the  first  baby.  It  is  most  es- 
sential that  the  public  get  their  attention  fixed  on  this  line  at 
the  outset.  In  this  way  they  retain  it  in  their  mind  and 
know  what  to  nsk  for  in  purchasing. ' 

Not  H<>  many  years  ago,  refrains  to  songs  were  not  con 
sidered  so  important,  but  now  the  chorus  is  looked  upon  as 
the  kernel  of  the  whole  song.  In  ninety-nine  cases  out  of 
every  hundred  it  is  (he  words  of  the  refrain  and  the  melody 
that  the  public  sings,  whistles  and  hums,  and  so  it  becomes 
known  as  "the  popular  hit." 

Alliteration  is  often  very  effective  in  song  lyrics.  One 
excerpt  from  a  well-known  verse  is  here  quoted  to  show  the 
cleverness  of  this  trick: 

longer  fairy,  linger  longer  Lou.'' 


Clever  catchy  lines,  or  phrases,  arc  always  to  be  looke<l 
for.  In  sprightly,  comic,  or  even  popular  songs  with  a  love 
story,  if  well  used,  they  often  help  to  make  a  song.  Two  fim» 
examples  of  the  use  of  "catch  lines"  in  this  way  are  here 
given : 

I.     From  "Just  One  Girl." 

"There  arc  only  tico  flics  in  the  honey.' 

II.     From  "Bedelia." 
"Til  be  your  Chauneey  Olcott  if  you'll  be  my  Molly  0." 

These  two  lines  were  caught  up  more  quickly  by  the  pub- 
lic and  attracted  more  attention  almost  than  anything  else 
in  the  two  songs.  There  are,  of  course,  many  other  equally 
well-known  cases  where  the  "catch  line"  practically  made 
the  song. 

A  euphonious  title  is  a  great  essential  to  the  making  of 
a  successful  song.  Let  it  be  pleasant  equally  to  the  eye  and 
ear.  The  sliorter  and  more  concise  it  is,  the  better.  In  one, 
two,  or  three,  or  half  a  dozen  words  (more,  if  absolutely  ne- 
cessary) it  should  indicate  the  story,  just  as  in  a  newspaper 
article  the  head  line  conveys  the  whole  idea,  if  cleverly  writ- 
ten, of  what  follows. 

Avoid  slang,  or  double  entente  lines  and  phrases.  They 
may  seem  witty  and  clever,  but  they  ruin  the  chances  for  the 
song  to  sell  well.  Refined  people  do  not  care  to  have  songs 
containing  such  words  or  allusions  seen  in  their  homes,  or 
used  by  members  of  their  family. 

Always  look  to  the  soiling  qualities  of  a  song.  Principal 
among  .these  arc,  an  original  idea,  a  catchy  title,  a  haunting 
melody,  clean  words,  good  grammar  (whether  for  ballads  or 
comic  songs),  conciseness,  strong  points,  and  last  but.  not 


ieaat,  a  good  publisher.  Advice  on  this  point  will  be  offered 
in  another  chapter. 

When  your  first  verse  is  written,  and  you  start  on  the 
next,  always  be  careful  that  the  accented  words,  or  syllables 
correspond  exactly,  line  by  line,  with  those  in  the  opening 
verse,  and  thus  fit  the  accented  notes  of  your  melody.  See 
that  the  "feet"  in  each  metre  are  numerically  the  same  in 
each  verse.  The  temptation  to  crowd  in  extra  syllables  or 
words  in  succeeding  verses  must  be  rigorously  resisted. 
There  is  no  exception  to  this  rule. 

It  is  also  highly  advisable,  and  often  imperative,  that  a 
single  syllable  or  monosyllable  correspond  to  each  note  of 
the  melody. 


EXAMPLES. 

/jU-                              ^ 

(QOOD) 

Kb  *'    ^  —  «f  rri-tr— 

—  $  {,,  —         —  rf-J  Jl-t            __r_  _J  —  - 

So    fare   the*  well.        old  borne,  fare  -  well     for  -  •*     -'    <-T 


So    fare  tbee  well.         old       home,  fare      -      well, 

excepting  where  some  oddity  or  effect  is  dosired,  such  as 


She'*    the      on  -  ly        U  .-   dy   (rieod      I 


know 


or  similar  phrases  in  many  past  successes. 

Short  vf-rses  and  refrains  are  now  found  to  bring  the  besl 
results.  A  few  years  ago  the  verses  were  twice  the  length 
they  now  arc.  To-day,  tiu\v  are  rernrdfd  ««  U'diou*  and  old- 


fashioned.  The  idea  is  to  get  into  the  chorus,  or  refrain,  an 
quickly  as  possible,  thus  telling  a  good  story  in  as  few  words 
as  you  can,  which,  as  we  all  know,  is  the  keynote  of  success 
in  story-telling,  and  applies  equally  well  in  song-writing. 


17 


CHAPTER    II. 
TIIK  MUSICAL  SETTING  on  MELODY. 

The  lyrics  of  .your  song  being  written  and  revised  so  that 
their  final  form  pre.serits  little  or  no  room  for  improvement 
apparently,  the  next  consideration  is  the  melody,  and,  after 
that,  the  accompaniment.  Of  course,  it  often  happens  that 
the  writer  is  equally  capable  of  composing  his  own  music 
1  hereto;  and  where  this  is  the  case,  matters  are  naturally  con- 
siderably simplified.  The  results  achieved  by  writers  who 
#re  the  creators  of  both  the  words  and  the  melody,  are,  or 
should  be,  obviously  better,  than  where  the  work  is  split  up 
between  two  parties.  Nevertheless,  it  must  not  be  supposed 
that  two  heads  in  this  busitiess  are  not  very  often  better  than 
one. 

In  recent  years,  many  of  the  most  successful  popular  songs, 
as  fnr  as  the  music  was  concerned,  have  been  composed  by 
individuals  who  merely  possessed  a  natural  ability  for  origi- 
nating effective  melody.  In  very  many  instances,  indeed, 
these  "composers"  were  unable  to  read  a  note  of  music,  or 
even  to  pick  out,  their  melodies  on  any  instrument.  Under 
these  circumstances  they  simply  hummed  or  whistled  their 
tune  to  some  other  party  who  was  sufficiently  gifted  to  trans- 
fer same  to  paper.  Others,  again,  could  pick  out  their  mel- 
ody, say,  on  a  piano,  and  get  the  notes  down  on  paper  in  more 
or  less  coherent  form.  After  this,  of  course,  much  remained 
still  to  be  done,  the  principal  item  being  the  provision  and 
arrangement  of  the  best  possible  and  most  effective  form  of 
accompaniment. 

Writers  of  lyrics  often,   unconsciously,  construct  thei 

18 


linos  to  the  rhythm  of  some  more  or  less  tangible  melody 
that  exists  in  their  minds,  without  their  being  able  to  act- 
ually materialize  it.  It  is  therefore  advisable,  when  present- 
ing your  lyricH  to  a  composer  of  music,  to  either  hum  the 
words  to  your  melody — or  rather,  the  swing  of  what  would 
be  your  melody  if  properly  developed — or  recite  them  just 
in  the  way  they  would  be  sung.  By  this  means  the  composer 
is  enabled  to  readily  grasp  your  own  idea  of  the  proper  lilt 
.and  rhythm  of  your  verse.  In  quite  a  number  of  cases,  a  set 
of  words  is  capable  of  being  read  in  half  a  dozen  different 
ways,  so  far  as  regards  their  "swing."  In  others,  to  the  com- 
poser, the}7  seem  to  have  no  rhythmic  swing  at  all,  until  their 
•originator  comes  along  and  solves  the  little  puzzle.  Com- 
posers should  take  heed  of  this,  because  any  sign  of  halting 
In  a  melody  makes  the  song  at  once  seem  unnatural  or  un- 
finished, and  it  suffers  accordingly.  To  show  how  easy  it 
sometimes  is  to  find  different  methods  of  setting  the  music 
to  a  set  of  words,  one  has  only  to  recall  the  example  once 
given  by  the  famous  composer,  Sir  Arthur  Sullivan.  Every 
•one  knows  that  for  lyric-writing  Mr.  W.  S.  Gilbert,  his  col- 
laborator, has  never  yet  been  equalled.  Yet,  when  the  latter 
wrote  the  lyric,  "Were  I  Thy  Bride,"  from  the  opera,  "The 
Yeoiuen  of  the  Guard,"  Sir  Arthur  showed  he  could  have 
composed  music  to  it  in  no  less  than  eight  entirely  different 
styles  of  rhythm.  Mr.  Gilbert  only  had  one  in  his  mind;  the 
composer  found  eight,  all  of  them  equally  good. 

The  advantages  of  mutual  consultation  and  help  between 
the  composer  and  writer  of  words  are  many,  but  that  just 
referred  to  is  the  most  important. 

When  authors  discover  composers  or  composers  unearth 
authors  who  prove  clever  and  successful,  it  is  as  well  that 
they  form  a  "team',"  or  partnership,  and  write  exclusively  to- 


gcthcr,  whore  possible.  Constant  interest  in  each  other's 
work  develops  sympathy  between  them,  a  sort  of  telepathic 
tie  is  formed,  and  they  grasp  each  other's  undeveloped,  or 
finished  ideas  instantaneously.  They  grow  familiar  with 
each  other's  style  and  individuality,  which  results  in  a  com- 
pleted work  that  is  in  harmony  with  itself,  and,  consequently, 
good  in  all  points.  The  melody  and  words  of  a  song  must  bo 
in  harmony.  A  skillful  composer  will  nearly  always  make 
the  melody  speak  the  words  and  reflect  the  sentiment  and  at- 
mosphere of  the  lyrics. 

Quite  frequently  a  composer  will  complete  a  beautiful  or 
catchy  melody,  irrespective  of  any  lyrics,  but  in  these  cases 
ttoe  composer  can  and  does  readily  suggest  the  style,  senti- 
ment, and  even  the  title  of  the  song  he  desires  to  evolve  from 
this  "song  without  words."  He  feels  the  style  and  sentiment ; 
the  very  notes  of  the  melody  seem  to  speak  the  story  in  a 
more  or  less  vague  fashion. 

A  famous  playwright  in  New  York  City  once  made  the 
remark,  in  speaking  of  his  work:  "I  sometimes  sit  and  think 
for  days  and  my  mind  seems  hopelessly  blank.  Suddenly  a. 
vague  but  indefinite  idea  appears.  It  seems  to  be  a  long  way 
off,  but  as  I  think  and  think  it  comes  closer,  until  gradually 
it  develops  from  a  misty  embryo  into  a  well  defined  shape  or 
form,  upon  which  I  work  until  the  beautifully  finished  pro- 
duction is  an  actuality."  So  it  is  witli  the  author  or  com- 
poser of  songs,  especially  writers  of  novelties.  A  misty,. 
vague,  indefinite  idea  appears,  from  which  new  thoughts  and 
ideas  rapidly  spring,  till,  finally,  the  original  novelty,  the 
beautiful  story,  or  the  ear-haunting  melody  is  completed. 
Even  then,  this  is  polished  and  re-polished,  at  length  result- 
ing in  a  thing  of  beauty,  if  not  a  joy  forever,  that  bears  upon 
it  the  stamp  of  success. 


The  amateur  author  and  composer  too  often  fall  short  ot 
success  through  lack  of  patience  and  careful  thought.  The 
desire  to  finish  and  publish  one's  "effort"  is  overwhelmingly 
strong.  Friends  and  admirers  innocently -deluge  the  proud 
creator  with  profuse  words  of  too  often  exaggerated  appre- 
ciation and  eulogy,  actually  convincing  the  unfortunate  vic- 
tim (for  such  he  is)  that  when  the  song  is  put  through  the 
printer's  or  publisher's  hands,  "nothing  can  stop  it  from  in- 
stantly becoming  the  craze  of  the  country."  It  appears  in 
print,  money  is  spent  in  seemingly  wise  channels,  but  popu- 
larity does  not  appear  and  the  writers  wonder  why,  often 
placing  the  blame  on  other  shoulders  when  it  should  be  al- 
most entirely  on  their  own. 

Many  a  manuscript  has  been  dropped  into  the  waste  paper 
basket  of  the  publisher,  or  has  had  money  expended  on  it  by 
the  author,  or  composer,  in  getting  same  published,  only  to 
die  a  miserable,  and  sometimes,  instantaneous  death.  Yet 
this  composition  may  really  have  contained  a  good  or  original 
idoa  in  either  lyrics,  melody,  or,  perhaps  both.  They  had  not 
been  worked  out  by  careful  thought  and  attention  to  detail,' 
however,  and  this,  as  has  already  been  stated,  is  a  fatal  over- 
sight in  the  making  of  a  successful  "popular"  song. 

A  few  hints  as  to  some  of  the  prevalent  causes  that  lead 
the  inexperienced  into  the  paths  of  disappointment  and  dis- 
aster may  conveniently  be  presented  here. 

Awkward  "intervals" — that  is,  intervals  that  are  either 
unnatural,  and  do  not  sing  gracefully,  but  have  a  jarr'ng 
effect  on  the  ear,  and  intervals  that  are  far  apart,  should  be 
carefully  avoided  in  a  melody,  especially  if  they  occur  in 
quick  succession,  such  as: 


EXAMPIJJS. 
(BAD) 


Somewberein  the  world  the  moon  is  shin  -  ing.      Shin-ing  on  the  fields  and  golden    hills, 

(OOOi>) 


Somewhere  in  the  world  the  moon  is  shin-ing,      Shining  on  the  fields  and  golden  hills, 


Also  avoid  using  for  singing  a  scries  of  notes  or  tones 
which  are  so  placed  that  the  singer  will  be  kept  on  the 
higher  tones,  such  as  the  d's  and  e's  and  occasional  f  s.  The 
untrained  singer  cannot  produce  a  series  of  these  tones  with- 
out great  strain,  and  finding  this  so,  naturally  takes  little 
fancy  to  the  song. 

EXAMPLES. 
(BAD) 


girl        I  know,  she's  fair  -  est 
(GOOD) 


She      is     the  sweet  -  cst     girl        I  know,  she's  fair  -  est      of     them  all, 

If  the  reader  wilt  sing  over  these  two  examples  in  good 
and  bad  treatments  of  the  use  of  high  notes,  he  will  find  at 
once  ho\v  much  easier  it  is  to  sing  the  lower  melody.  The 
same  rouge  is  used,  but  in  the  lower  example  it  will  he  noted 
that  after  each  high  note  the  melody  takes  the  voice  down- 
wards and  immediately  relieves  the  vocal  strain.  In  the  up- 
per example,  Ihe  singer  is  subjected  to  a  sustained  strain 
which  grows  in  tension  as  the  melody  progresses. 

Glaring   imitation  of  known  melodies  should  never  be 


countenanced  by  a  composer  who  amis  at  success.  To  start 
with,  it  shows  weakness  in  thought,  and  lack  of  self -reliance, 
individuality  and  originality. 

Reminiscence  in  a  slight  degree  in  ''popular"  melodies  is 
often  a  benefit,  as  it  assists  popularity  in  a  new  song.  The 
untrained  listener,  for  example,  feels  that  he  or  she  has 
"heard  something  that  began  like  that  before";  but  it  is  so 
disguised  that  one  cannot  recall  just  precisely  what  it  is  like. 
Curiosity  is  thus  aroused,  the  gentle  critic  keeps  humming 
your  melody  in  an  effort  to  discover  its  original  source,  and 
the  more  it  is  hummed,  or  discussed,  the  closer  it  gets  towards 
that  much  desired  goal — Popularity.. 

Bare-faced  imitation  in  melodies  or  styles,  never,  as  a 
rule,  succeeds.  The  public  is  a  tickle  quantity,  ever  looking 
for  something  new  which  it  devours  quickly  when  found.  No 
sooner  is  its  appetite  ^appeased,  than  it  grows  tired  of  its 
former  food  and  seeks  something  with  a  new  flavor.  "Hia- 
watha" was  new  in  idea:  the  name,  the  atmosphere,  the 
rhythm  were  all  new,  and  instantly,  caught  the  public  fancy. 
So  tremendous  a  success  was  it  that  hundreds  of  writers, 
some  good  and  many  bad,  lost  no  time  in  trying  to  secure 
financial  beneiit  from  this  one  new  idea,  and  the  musical 
market  was  flooded  with  Indian  intermezzos  of  every  kind 
and  description.  The  rest  died,  literally  unhouored  and  "un- 
sung.'' 

Many  seemingly  poorly  written  songs  have  achieved  the 
greatest  kind  of  popularity,  but  in  every  case,  if  the  songs 
are  analyzed  by  anyone  versed  in  such  matters,  it  will  be 
found  that  either  in  lyrics,  melody,  or  both,  an  original  and 
novel  idea  that  appealed  to  public  fancy  has  existed.  It  is 
the  knowledge  of  these  little  originalities  that  are  ne<xled. 

23 


and  whore  to  place  them  properly,  that  the  amateur  song- 
writer should  seek  and  try  to  become  familiar  with. 

Whenever  you  find  it  difficult  to  continue  satisfactorily 
in  a  melody  you  have  commenced  upon,  or  hard  to  remember 
a  melody  the  second  time  you  play,  whistle,  or  sing  it  over, 
you  can  safely  rely  upon  it  that  this  is  not  the  melody  you 
want.  Lay  the  work  aside  until  some  later  time  when  you 
can  formulate  and  work  out  some  new  idea  that  flows  readily 
and  easily,  and  that  "sticks"  to  you  right  away.  There  will 
grow  upon  you  then  the  pleasant  conviction  that  this  latter 
melody  is  the  right  one,  and  that  no  amount  of  further  ex- 
perimenting will  ever  make  it  otherwise. 

Often,  upon  reading  over  a  set  of  good  lyrics,  a  melody 
will  instantly  formulate  itself;  you  feel  inspired,  yon  sing 
it  from  beginning  to  end  with  almost  the  same  ease  as  you 
would  a  familiar  air;  it  almost  talks  the  words.  When  a 
happy  combination  of  circumstances  like  this,  occurs  it  is 
safe  to  say  that  in  ninety-nine  cases  out  of  a  hundred  it  is 
an  inspiration,  and  that  it  is  the  one  and  only  melody  for 
the  lyric  with  which  you  wish  to  associate  it. 

I>o  not,  however,  think  that  your  work  is  over  when 
yon  have  transferred  this  inspiration  to  p.'ipcr.  Far  from  it. 
It  is  here  that  the  successful  composer  really  starts.  It  is 
just  as  well  to  put  your  melody  aside  for  a  while;  let  your 
enthusiasm  have  time  to  grow  cold;  take  it  up  again  in  a 
few  days  and  see  if  it  appeals  to  you  as  strongly  as  it  did  at 
first.  See  if  it  sings  us  easily,  see  if  you  have  placed  it  in  the 
rigid  key  for  the  In'st  popular  range  — (this  will -be  discussed 
in  another  chapter) — -ami  see  if  your  intervals  nre  easily 
sung  Discard  anv  awkward  accidentals,  if  possible. — ve- 
meml»er  the  simpler  it.  is  liie  better  the  chniire  of  real  popu- 
larity. If  you  discover,  after  a.  strict  analysis  ««f  all  Ibese 


pointy  that  jour  melody  stands  the  test,  and  possesses  all 
these  essentials,  you  may  then  rest  absolutely  uMsured  that 
so  far  you  are  on  the  right  track. 

Next  comes  the  piano  accompaniment  to  your  melody. 
This  requires  ft  careful  amount  of  thought.  It  must  he  easy 
in  execution,  it  must  lay  under  the  fingers  well,  it  must  be 
rich  in  harmony,  it  must  not,  as  a  rule,  contain  chords  of 
more  than  three  notes,  or,  at  the  most,  four;  it  must  not  be 
written  in  difficult  and  unpopular  keys,  and  it  must  be  inter- 
esting. Reference  to  the  chapter  that  follows  will  explain 
the  salient  points  which  it  is  desirable  to  have  in  mind  in 
writing  au  effective  accompaniment. 


CHAPTER    III. 

THE  ACCOMPANIMENT. 

Rest  keys  to  write  in — Range  of  Melody — Different  forms 

of  Accompaniment. 

The  first  thing  to  determine  in  writing  accompaniments 
to  a  song  is  the  key  in  which  your  melody  is  to  be  placed. 
There  is,  of  course,  no  hard  and  fast  rule  as  to  what  is  and 
what  is  not  a  desirable  key;  for  in  this  matter,  as  in  all 
others,  circumstances  alter  cases.  The  best  key  may  be  de- 
termined after  due  consideration  as  to  whether  the  song  is 
intended  for,  or  most  suitable  to,  a  certain  range  or  quality 
of  voice  which  comprises  the  following  well  known  divisions : 

Soprano  or  Tenor  (Range.) 


Contralto  or  Baritone  ( Range. ) 


Basso  (Range.) 


It  is  not  to  be  supposed,  of  course,  that  the  music  for  a 
brilliant,  sparkling  waltz-song  should  be  written  to  suit  a 
voice  of  low  range;  or,  again,  that  a  swingy,  stirring  story 
of  the  sea,  war,  etc.,  should  be  set  to  a  melody  that  suggests 
nothing  but  a  high  soprano  voice,  or  any  other  equally  sim- 
ilar unharnionious  combination  of  lyrics  and  melody.  Con- 

K 


sequent  ly  the  composer  must  exercise  discretion  in  placing 
his  melody  for  the  soug  in  question  in  a  range  most  adapted 
to  the  proper  rendition  of  the  song  and  melody.  The  above 
remarks  are,  perhaps,  more  important  as  applied  to  songs 
coming  under  the  heads  of  high,  class  ballads,  sacred  songs, 
and  those  especially  written  for  certain  artists. 

For  the  accepted  various  classes  of  popular  songs,  such 
as  Home,  or  Mother  songs,  Waltz,  Coon,  March  songs,  etc., 
then?  is  practically  a  set  limit  of  range,  which  is  generally 
between  "<'•"  below  the  staff,  and  "E"  on  the  stall'.  Thus: 


Very  rarely  should  a  popular  melody  be  set  below  or 
above  these  notes.  The  reason  for  this  is,  of  course,  that 
popular  songs  are,  for  the  most  part,  sung  by  the  masses, 
who,  as  a  whole,  do  not  possess  cultivated  voices,  and  the 
natural,  untrained  voice  cannot  produce  tones  outside  of 
the  range  given  without  great  effort.  .Whatever  is  un  effort 
in  the  production  or  rendition  of  a  popular  song  should  be 
eliminated  before  its  public  appearance.  Moreover,  the 
range  of  notes  given  is  ample  for  any  effective  melody.  Some 
of  the  tunes  that  have  existed  for  centuries — the  old  "folk 
songs"  of  many  lands — have  all  been  encompassed  within  a 
much  more  restricted  range  than  the  example  quoted.  In- 
deed, many  of  the  more  popular  songs  of  the  day  have  melo- 
dies that  are  comprised  within  six  notes,  say,  "E"  to  "C," 
both  on  the  stuff. 

Popular  songs  written  in  the  keys  which  have  sharps 
(the  sign  for  which  is  £  )  for  their  signature  are  not  in 
favor,  excepting  the  key  of  G  Major,  which  has  one  sharp,  F, 
for  its  signature.  Experience  has.  shown  .that  for  some 

27 


peculiar  reason  the  masses,  as  well  as  quite  a  number  of  more 
or  less  educated  musicians,  do  not  finger  or  readily  read 
music  written  in  sharp  keys.  The  following  keys  are  the  best 
to  select  from  : 

C  Major  (No  Sharps  or  Flats). 

G  Major  (One  Sharp,  F). 

F  Major  (One  Flat,  B). 

B  Flat  Major  (Two  Flats,  B  and  E). 

B  Flat  Major  (Three  Flats,  B,  E,  and  A). 

For  popular  songs,  where  a  soft  or  plaintive  melody  is 
desired,  A  Flat  Major,  (Four  Flats,  B.  E.  A  and  D)  is  useful. 

Minor  keys  for  melodies  to  pathetic,  weird,  mysterious  or 
mock  sentimental  lyrics,  can  be  used  with  beautiful  and  ex- 
cellent effect.  The  usual  Minor  keys  to  be  used  in  popular 
songs,  are  those  which  have  the  same  signatures  as  the  first 
five  Major  keys  above  mentioned,  and  are  as  follows : 

A  Minor  (No  Sharps  or  Flats). 

E  Minor  (One  Sharp,  F). 

D  Minor  (One  Flat,  B). 

G  Minor  (Two  Flats,  B  and  E). 

C  Minor  (Three  Flats,  B,  E  and  A). 

In  each  of  the  above  keys,  no  matter  which  is  used,  the 
experienced  composer  of  popular  songs  always;  keeps  the 
melody  within  the  accepted  limited  range,  as  already  in- 
dicated. Occasionally,  as  in  a  big  catchy  march  number, 
where  a  rousing  climax  is  desired,  an  F  or  F  Sharp  above,  is 
admissible,  but  if  nothing  is  lost  by  avoiding  such  notes,  so 
much  the  better. 

Simplicity  of  accompaniment,  with  pretty  harmonies,  is 
a  golden  rule.  Many  an  otherwise  excellent  popular  song 
has  been  a  failure  because  the  accompaniment  was  too  dif- 
ficult for  the  majority  to  play  easily.  Kemember,  the  patron 

98 


or  the  popular  song  docs  not,  as  a  rule,  desire  to  exert  any 
effort  in  -its  rendition.  On  the  other  hand,  the  reader  must 
not  suppose  that  a  bald,  uninteresting  accompaniment  should 
be  the  rule.  The  aim  of  the  composer  should  be  to  retain 
the  interest  even  in  the  accompaniment. 

Arpeggios  in  a  quick  tempo,  runs  requiring  skilful  execu- 
tion, quick  jumps  in  either  right  or  left  hand,  are  to  be 
avoided  in  accompaniments  to  popular  songs.  The  ordinary 
pianist  or  accompanist  discards  the  use  of  a  song  containing 
such  features,  because  he  lacks  the  necessary  skill  required 
for  an  adequate  rendition. 

A  sudden  change  of  key  in  a  song  is  often  very  effective 
and  brings  a  delightful  surprise  to  the  ear.  This  device  will 
often  relieve  what  would  otherwise  be  a  rather  monotonous 
melody.  Such  sudden  change,  however,  must  be  made  to 
occur,  as  a  rule,  quite  naturally  and  smoothly,  and  must 


(K«7  here  real!? 


to  A!?.} 


There     sat       a      tnasd      re    -    pin     -       ing,      D«n       Cu  -    pid       to       that 
The      lov  -  era,'     \vh.s  -  pei«d    greet     -     ings.  Those      sto  -    len       in   -    ter 


*     I  ~r-       '   }~          (•        }^^~ 


v*ut      c&nae.      It*       grist       walls  cooH        not      bar        M* 
rack      night    Would      ftll '         tb«   maid's      heart    Kith       <!• 


pass  from  tin-  original  key  to  itH  cither  relative  Minor,  or  a 
change  such  as  that  illustrated,  from  "Love  Laughs  at 
Locksmiths/'  from  the  operatic  success,  "Sergeant  Kitty:" 

The  signature  of  the  key  is  riot  to  be  changed,  however,  in 
writing  these  deviations,  but  the  accidentals  (Sharps  or 
Flats)  must  be  used  in  front  of  the  notes  requiring  same,  iu 
order  to  show  exactly  the  change  of  key  or  the  return  into  the 
original  key.  Where,  however,  the  change  of  key  involves  the 
use  of  eight  measures  or  more,  it  is  better  to  change*  the 
(signature,  reverting  to  the  original  signature  in  its  proper 
place.  In  this  way,  you  simplify  the  process  of  reading  the 
song  immensely. 

Another  rule  which  the  popular  song  writer  may  usefully 
bear  in  mind  is  never  to  change  the  key  of  the  chorus  or  re- 
frain of  a  song;  keep  it  in  the  same  key  as  your  verse  is 
written  in.  This  rule,  indeed,  is  imperative,  and  even  the 
composer  whose  desire  is  to  be  as  original  as  be  consistently 
can,  must  be  careful  that  his  zeal  for  new  effects  and  his 
desire  to  depart  from  conventionality  do  not  run  away  with 
his  discretion  in  this  respect. 

A  few  suggestions  regarding  accompaniments  for  the 
main  classes  of  popular  songs  may,  perhaps,  be  useful  and 
act  as  a  guide  to  the  amateur  when  considering  the  best  form 
and  style  for  certain  songs. 

HOME  on  MOTHEII  SONGS. 
DESCRIPTIVE,  SENSATIONAL  BALLADS. 

Write  these  either  in  common,  or  4-4  time,  or  3-4  time; 
or  else  4-4  time  for  the  verse  and  3-4  time  for  the  refrain. 

30 


The  Prelude,  or  Introduction,  should  usually  comprise 
four  measures  of  common  time,  or  eight  measure  of  3-4 
time,  founded  on,  if  not  identical  with,  the  oj>ening  bars  of 
the  verse  melody  and  accompaniment,  closing  with  a  domi- 
nant chord,  or  occasionally  a  chord  of  the  seventh.  Another 
effective  prelude  can  be  constructed  by  similarly  using  the 
closing  strain  of  the  refrain.  Except  in  songs  of  a  strictly 
fanciful  order,  or  dainty,  high  class  compositions,  where  a 
prelude  may  often  he  independent,  and  only  slightly  sug- 
gestive of  what  follows,  this  rule  should  be  adhered  to.  It 
serves  the  double  purpose  of  introducing  the  th<Miie  of  the 
song  to  its  listeners  and  of  acquainting  the  singer  with  the 
first  few  measures  of  the  song,  as  occasionally  he  may  forget 
the  opening  phrase. 

A  verse  in  common  time  is  generally  sixteen  measures  in 
length,  and  thirty-two  measures  if  in  3-4  time.  The  refrain 
should  be  (a)  common  time,  eight  or  sixteen  measures;  (b) 
%  time,  sixteen  or  thirty-two  measures. 

Give  the  melody  to  the  right  hand,  as  this  aids  the  voice 
materially,  and  use  judgment  in  creating  pretty  effects  by 
the  addition  of  a  second  note,  such  as  the  third,  or  sixth,  or 
octave.  The  left  hand  usually  has  a  moving  figure  in  arpeg- 
gio form  combining  the  fundamental  bass  notes  with  the 
broken  chords.  Thus: 


Please,  Mis  -  ter.  take    me    in    your  car.       I  want      to  see  Mam  -  ma. 
The  ride       it  end  -  ed   all      too  soon,    she  tod  •  died  off   a  -  lone, 


They 
A 


Bl 


or  it  ia  written  with  the  plain  fundamental  baas  note,  and 
following  it  are  the  one,  two  or  three  chords.  More  than 
three  notes  in  the  chords  for  the  left  hand  are  to  be  avoided : 


Has  an  - oth  -  er  won  your    heart? 


Usually  after  the  first  eight  measures  of  the  verse  the 
melody  goes  into  the  relative  Minor  key,  or  the  key  of  the 
Dominant,  and  here  the  accompaniment  is  often  varied,  pos- 
sibly by  writing  the  right  hand  melody  in  octaves,  or  omit- 
ting the  right  hand  melody  entirely,  both  hands  playing  the 
simple  chord  harmony ;  or  a  counter  melody  is  introduced  in 
the  right  or  left  hand  (although  counter  melodies  in  the 
popular  songs  are  not  usual).  After  the  Minor  four, 
or,  most  often,  eight  measures,  the  melody  reverts  to  the 
original  Major  key  and  melody,  closing  either  with  the 
chord  of  the  dominant,  or,  more  often,  one  of  the  inversions 
of  the  chord  of  the  seventh,  so  as  to  lead  smoothly  and  natu- 
rally into  the  refrain. 

"POPULAR"  WALTZ  SONGS. 

Forms  of  accompaniments  to  this  class  of  songs  should 
usually  be  as  follows: 

The  introduction  should  consist  of  eight  measures,  either 
taken  from  the  first  eight  of  the  verse  finishing  on  the  domi- 
nant chord  of  the  key,  or  the  first  four  and  last  four  of  the 


chorus.  The  first  four  measures  of  the  verse  or  chorus  to- 
gether with  four  concluding  measures  of  easy  and  fanciful 
melodic  figure  might  also  be  employed  if  a  spice  of  variety 
will  improve  matters. 

In  the  accompaniment  of  the  verse  the  melody  is  given 
to  the  right  hand,  with  here  and  there  an  easy  little  run  or 
figure  to  fill  out  empty  measures  or  to  suggest  orchestral 
effects.  For  example : 


(A) 


While        the     mu    -    sic's    play 


mg, 


^=E 


f=f 


P-/ 


m 


And 
And 


he 
he 


says:   "Now,  par -son,         tell 
finds       this   poor  young      lov 


, 


fe* 


fej 


j     i      I 


This  fonn  continues  in  much  the  same  style  throughout 
the  chorus  with  perhaps  the  last  eight  measures  of  the  right 
hand  (where  the  chorus  is  sixteen  measures  in  length)  or 
the  last  sixteen  measures  (where  the  chorus  is  thirty-two 


measures  in  length)  of  melody,  written  in  octaves  to  give 
added  force  and  brilliancy  to  the  finish. 

In  " popular"  waltz  songs  the  chorus  may  be  written 
with  a  first  and  second  ending,  as  this  style  of  refrain  lends 
itself  readily  to  repetition.  The  first  ending  should  be  writ- 
ten so  that  the  accompaniment  continues  and  leads  back  into 
the  beginning  of  the  chorus  melody  naturally  and  easily 
and  without  a  break.  Example : 


In  waltz  movements,  where  the  melody  moves  in  dotted 
half  notes,  or  a  half  note  and  a  quarter  note,  such  as  the 
following  example,  an  effective  accompaniment  is : 


5 


3 


^ 


Mol 


's  take     a      trol  -  ley.   just     you 


and 


iff 


I      *     x-~H~  *   x--? 

I        »j      "I 


»=» 


=F^F 


^ 


This  form  of  accompaniment  should  not,  however,  be 
employed  where  the  melody  contains  several  notes  in  each 
measure,  as  the  execution  required  for  this  is  quite  difficult 
and  simplicity  must  always  be  the  object  in  view. 


It  is  usual  when  the  harmony  is  carried  in  the  left  hand 
to  write  the  fundamental  bass  notes  of  each  measure  in 
single  notes  and  not  as  the  octave.  An  exception  to  this  may 
be  made  in  the  case  of  a  passage  marked  "Forte,"  but  here 
octaves  should  only  be  used  either  as  half  or  quarter  notes. 
Eighth  or  sixteenth  notes  in  quick  succession  written  in 
octave  form  for  the  left  hand  are  too  difficult  of  execution 
for  use  in  "popular"  waltz  songs. 

It  must  be  borne  in  min^  that  in  all  waltz  songs,  and  in 
fact  in  all  other  " popular '^sosgs,  the  number  of  measures 
in  the  introduction  or  prelude,  verse,  and  chorus  or  refrain, 
should  invariably  be  either  4,  8, 16,  32,  or  64.  Introductions 
of  over  eight  measures,  verses  over  thirty-two,  or  refrains 
or  choruses  over  thirty-two  measures  in  Waltz,  sixteen  in 
Home,  Mother  and  Descriptive  Songs,  are  not  desirable  in 
the  great  majority  of  instances.  In  March,  Coon  or  Pro- 
duction songs  the  refrain  or  chorus  can  be  and  usually  is 
thirty-two  measures  in  length,  while  the  verses  are  either 
sixteen  or  not  over  thirtv-two  measures. 


COON  SONGS. 

The  introduction  or  prelude  should  comprise  four,  eight 
or  sixteen  measures  finishing  on  the  dominant  or  inversion 
of  the  seventh  chord.  Except  where  a  "vamp"  follows  the 
eight  measure  introduction,  the  latter  should  run  straight 
into  the  verse  melody.  A  "vamp"  may  be  composed  of  two 
measures  (occasionally  four)  which  are  so  formed  that  they 
can  be  played  over  and  over  again  until  the  singer  is  ready 
to  commence  the  verse.  Two  examples  of  a  '"vamp"  are 
given :  One  from  May  Irwin  's  famous  song  ' '  Albany, ' ' 

35 


Modirato. 


niw. 


I  played  a  three-night      stard  once  up- 
I'm  gwine  I'*  tell  you      more,  well,  here  I 


the  other  being  taken  from  Ernest  Hogan's  great  shouting 
song  "Is  Everybody  Happy?" 


Moderate 


•• 


These  " vamps"  are  usually  as  varied  as  possible  in  mel- 
ody and  harmony,  or  are  written  to  portray  the  style  and 
atmosphere  of  the  song.  For  instance,  a  Coon  song  which 
is  mysterious  or  sad  in  story,  and  consequently  similar  in 
melody  and  accompaniment,  should  have  a  movement  in  the 
' ' vamp"  suggestive  also  of  same.  A  good  example  of  this 
may  be  found  in  the  "vamp"  to  the  well  known  song  ''My 
Loving  Henry." 


m=3 


1.  1  just     can't    help    from 

2.  I  won  -  der    what's    the 


5    3 


The  most  simple  form  of  "vamp"  is  often  preferable, 
such  as : 


If  no  particular  effect  is  desired  but  merely  an  appro- 
priate "vamp,"  it  will  be  found  that  quite  often  the  first 


37 


two  measures  of  the  verse  melody  may  be  very  usefully 
employed.  This  form  of  " vamp"  has  the  additional  advant- 
age of  helping  nervous  singers  to  remember  exactly  how  the 
song  starts, — a  very  important  point  when  you  come  to 
think  of  it. 

Some  Coon  songs  are  better  without  "vamps"  of  any 
kind.  This  is  a  point  that  may  well  be  left  to  the  discretion 
of  the  composer. 

To  resume,  the  introduction  is  usually  formed  from  the 
melody  and  accompaniment  of  either  four  or  eight  (if  the 
song  is  in  common  time),  or  eight  or  sixteen  measures  (if 
in  2-4  time)  of  the  beginning  of  the  verse,  or  a  combination 
of  measures  taken  from  the  verse  and  refrain  skilfully 
blended.  If  in  common  time,  the  verse  should  be  sixteen 
measures  in  length  with  a  refrain  of  equal  length,  having  a 
first  and  second  ending  for  repetition  purposes. 

If  in  2-4  time  the  verse  and  refrain  should  consist  of 
thirty-two  measures  each  and  the  refrain  should  have  a  first 
and  second  ending  as  in  the  cases  already  referred  to. 

If  either  form  of  song  has  a  "vamp,"  a  Dal  Segno  (D. 
S.)  sign,  i.  e., 

D.S.  (  '$.  ) 

is  written  at  the  end  of  the  last  measure  of  the  refrain, 
which  takes  the  accompaniment  back  to  the  beginning  of 
the  vamp,  where  a  similar  sign  (  •$.  )  is  placed.  In  such  a 
case  the  original  prelude  or  introduction  is  not,  of  course, 
played  again.  When  the  song  has  no  "vamp"  the  ac- 
companiment goes  back  to  the  beginning  and  the  original 
prelude  or  introduction  is  played  before  singing  the  second 
or  following  verses. 

It  is  usual  to  place  at  the  finish  of  the  chorus  in  these 
instances  a  De  Capo  mark,  thus  D.  C.  This  leaves  no  room 


for  doubt  as  to  where  the  prelude  and  accompaniment  for 
the  second  verse  really  start. 

" POPULAR"  MARCH  SONGS. 

These  are  invariably  written  in  either  2-4,  Common  (C 
or  4-4)  time,  or  6-8  time. 

The  introduction,  if  in  2-4  time,  may  be  eight  or  sixteen 
measures  in  length  ending  with  the  dominant  or  seventh 
chord.  It  should  lead  into  a  simple  ''vamp"  of  two  meas- 
ures, marked  "Till  Ready."  If  in  Common  or  4-4  time,  it 
should  be  four  or  eight  measures,  and  finish  in  the  same 
manner.  If  in  6-8  time,  eight  or  occasionally  sixteen  meas- 
ures may  be  written,  the  conclusion  being  either  the  domi- 
nant chord,  leading  directly  into  the  verse  melody,  or  into 
a  simple,  straight  "vamp"  of  two  measures,  marked  "Till 
Beady." 

The  theme  of  the  introduction  is  generally  founded  on 
certain  of  the  catchiest  measures  of  the  song,  preferably  the 
last  strain  of  the  chorus,  as  this  acts  as  an  effective  variant 
as  well  as  an  appropriate  interlude  between  the  first  chorus 
and  the  second  verse. 

The  construction  of  the  verse  should  be  as  follows : 
If  in  2-4  time  32  measures  in  length, 
If  in  4-4  time  16  measures  in  length. 
If  in  6-8  time  16  or  32  measures  in  length. 

The  refrain  should  consist  of  a  corresponding  number 
of  measures,  except  in  rare  cases.  First  and  second  endings 
should  be  given  here  also  for  repeats,  as  wel^.as  the  D.S., 
or  D.C.  signs,  exactly  as  explained  in  a  previous  paragraph. 

In  the  accompaniments  to  2-4  movements,  the  melody  is 
usually  placed  in  the  right  hand,  in  an  easy  playable  form 
so  as  to  uphold  the  voice  with  plain  octaves  where  force  or 
brilliancy  is  desired  in  the  refrain,  as  already  mentioned. 


39 


A  plain  moving  fundamental  bass  note,  followed  with  the 
corresponding  broken  chord  or  chords  is  employed  by  the 
left  hand,  thus:  (extracted  from  "Farewell,  Sweetheart 
May.") 


pi 

And    till  death  I'll  always  love        you.         Farewell,  sweetheart      May 


In  4-4  March  time,  wrhich  is  of  course  a  slower  tempo 
than  2-4,  the  accompaniment  takes  the  form  of  giving  the 
melody  and  harmony  to  the  right  hand,  and  fundamental 
bass  octaves  or  single  notes  to  the  left  hand.  Thus : 


_n_* 

M        .f-^.-m 

=*=^1 

Marzialt. 

-Q-$ 

Sweet  -  ly   the  mu  -  sic 
Sounds     of    the  big    guns 

P5  --^  -*•-  3.       »-      !•      J 

r—     -*  m-        *     • 

*•'•-»     '  0       * 

"/^ 

JL        JL        J5.        A. 
-*--*--*-*- 

-*-      I 
—  i  

~s  1  — 

£±  *i±i3£*:i       i  1~  —  • 

.«(        ^|      .'  4- 

-1—4- 

.    ,...<  .. 

-*-      rt       -*•       =t 
-*- 


-^=i 


play  -  ing, 
boom  -  ing, 


To  the  sound    of  the  march-ing         feet, . 
'Mid  tlie  crash     of  the  shot     and        shell. 


• 1 9 1 —- -• 

*  —*~ 


40 


In  6-8  or  2-4  movements,  which  are  sprightly  and  joyous 
in  character,  the  accompaniment  can  be  written  with  either 
the  plain  melody  in  the  right  hand  and  the  bass  single  note 
or  octave  with  following  chords  in  the  left  hand;  or  with 
the  melody  and  harmony  in  the  right  hand  and  the  funda- 
mental bass  single  notes  or  octaves  in  the  left  hand.  Botli 
forms  are  here  shown : 


South      in      dear      old      Diz 
dear  -   !y      loves  "  God    Save 


(B) 


Whis  -    per a  fond  good-bye, 


Soon      I'll          be         re  - 


-* — =a 


:q= 


i 


41 


At  the  finish  of  each  four  or  eight  measure  phrase  in  the 
accompaniment,  there  will  be  noticed  a  sort  of  pause  that 
inevitably  suggests  the  need  of  some  "filling  in"  process. 
To  accomplish  this,  one  may  employ  with  either  the  left  or 
right  hand,  or  both,  some  pretty  figure,  a  little  run,  two  or 
three  chords,  or  something  characteristic  of  the  song.  In  a 
song  of  War,  for  instance,  the  introduction  of  certain  bugle 
calls  and  the  like  are  effective  in  this  way.  In  a  patriotic 
song  a  few  notes  of  one  of  the  National  airs  will  please  if 
neatly  dovetailed  into  the  accompaniment.  All  this,  of 
course,  must  be  left  to  the  discretion  and  taste  of  the  com- 
poser and  arranger. 

COMIC  OB  TOPICAL  SONGS. 

Accompaniments  for  topical  songs  depend  entirely  on 
the  style,  character  and  tempo  of  the  melody.  Whichever 
it  is,  reference  to  the  forms  and  styles  already  described  and 
shown  in  previous  examples  will  be  sufficient  in  practically 
all  cases  to  form  a  satisfactory  basis  for  the  accompaniment 
and  its  most  effective  and  appropriate  treatment. 

The  chief  thing  is  to  remember  that  an  accompaniment 
should  be  simple  and  bright,  for  in  comic  songs  the  words 
and  melody  are  paramount  and  must  be  heard  easily  by  the 
listener.  The  accompaniments  therefore  must  not  be  such 
as  to  interrupt  the  pointed  delivery  of  the  words,  or  drown 
the  melody. 

Do  not  make  the  mistake  that  so  many  do  of  imagining 
that  melody  in  a  comic  song  is  a  secondary  consideration. 
It  is  the  lack  of  a  good  tune  that  ruins  many  a  humorous 
song,  just  as  indifferent  words  have  ruined  many  an  excel- 


42 


lent  melody.  It  is  quite  possible  to  combine  humor  and  mel- 
lody;  indeed,  a  little  care  and  thought  will  often  enable  the 
composer  to  absolutely  echo  in  his  music  the  laugh  of  the 
line  to  which  it  is  set.  Little  things  like  this  sometimes  make 
all  the  difference  between  a  hopeless  failure  and  a  big 
money-making  success. 

The  verse  and  refrain  should  be  short.  A  long  drawn 
out  verse  and  refrain  is  nearly  always  detrimental  to  the 
success  of  a  comic  or  topical  song.  Come  to  the  point  quick- 
ly and  let  it  be  really  amusing  and  comical.  Finally,  don't 
write  a  comic  song  without  a  comic  idea.  This  is  a  common 
mistake  that  a  lot  of  well-intentioned  persons  fall  into,  with 
the  result  that  their  songs  are  comical  without  being  comic. 
This  is  a  distinction  not  without  a  difference. 

HIGH  CLASS  BALLADS  AND  SACRED  SONGS. 

The  arrangement  of  the  accompaniment  for  songs  in  this 
class  should  not  be  attempted  by  the  amateur.  A  consider- 
able technical  and  theoretical  knowledge  is  required  for  this 
work  if  the  ultimate  result  is  to  be  of  any  artistic  worth  at 
all. 

The  best  plan  is  to  get  some  thorough  professional  ar- 
ranger to  do  this  work  in  all  cases.  The  amateur  may  be 
capable  enough  in  the  composition  of  the  melody  by  the 
exercise  of  due  care  regarding  range,  phrasing,  etc.,  but  here 
his  ambition  should  cease  until  he  has  a  practical  knowledge 
of  harmony  and  composition  at  his  fingers'  ends.  A  thor- 
ough course  in  harmony,  composition  and  thorough  bass 
should  be  undertaken  before  attempting  accompaniments  to 
these  styles  of  songs. 


PRODUCTION  SONGS. 

Under  this  heading  we  will  also  include  songs  written 
for  particular  singers  and  artists.  The  term  "production" 
song  is  used  to  denote  a  composition  that  is  in  all  salient 
features  most  particularly  adapted  for  use  in  a  theatrical 
or  musical  production.  It  usually  demands  scenic  surround- 
ings, use  of  calcium  or  moonlight  effects,  etc.,  and  is  written 
with  a  view  to  the  introduction  of  certain  stage  business  or 
costume  effects  to  be  used  by  the  singer  or  chorus  behind 
the  soloist.  Or,  again,  it  may  involve  the  use  of  certain 
"properties"  ("props")  to  insure  its  successful  rendition. 
A  publisher  does  not  launch  such  songs  on  the  public 
through  the  channel  of  ordinary  advertisement  or  through 
the  still  more  valuable  advertising  medium  of  the  vaudeville 
stage  or  other  public  use.  The  demand  for  songs  of  this 
class  is  wholly  created  by  their  being  placed  in  some  metro- 
politan production,  which  if  successful,  tours  the  large  cities 
of  the  country  after  the  metropolitan  run  is  concluded. 
Some  well  known  artist  renders  the  song  and  becomes  in  a 
large  degree  associated  with  it.  The  excellent  "production" 
of 4fre  song,  if  meritorious,  creates  a  quick  demand  for  it  on 
the  part  of  the  public,  the  melody  is  played  in  the  cafes, 
hotels  and  restaurants,  consequently  becomes  immensely 
popular,  and  finally  is  sung  by  everybody. 

In  writing  "production"  songs,  both  the  writer  of  the 
lyrics  and  composer  of  the  music  must  exercise  considerable 
ingenuity  and  originality  in  devising  a  novelty,  suggesting 
some  pretty  scene,  calling  for  the  introduction  of  striking 
and  novel  stage  business.  The  words  must  be  unusually 
catchy  and  the  music  haunting  to  the  ear.  It  is  beyond  the 
scope  of  this  brief  treatise  to  enter  into  the  numberless 


44 


details  and  suggestions  that  could  be  given  in  reference  to 
this  class  of  song,  both  as  regards  suitable  ideas,  style,  etc., 
in  words,  melody  and  accompaniment.  There  is  no  fixed  rule 
whatever.  In  fact,  a  production  "song"  is  really  a  small 
"production"  in  itself,  and  therefore  should  be,  though  un- 
happily it  is  often  not  so,  a  self-contained  and  independent 
creation,  to  which  no  particular  rule  or  set  of  rules  can  be 
usefully  applied.  What  suits  one  is  inappropriate  to  an- 
other. Rules  for  production  songs  are  dependent  upon  the 
"idea"  of  the  song,  and  this  little  work  lays  no  claim  to  be  a 
universal  provider  of  ideas  which  are  the  result  in  most 
cases  of  a  happy  inspiration  or  accident,  whichever  term 
seems  the  better  under  the  circumstances. 

Let  the  amateur  watch  the  big  hits  of  the  metropolitan 
productions,  and  he  will  learn  more  than  can  ever  be  told 
in  words  regarding  this  fanciful  and  lucrative  style  of  song- 
writing. 

Waltz,  Coon,  March,  Comic  and  Topical,  Character  or 
Dialect  songs  are,  of  course,  quite  frequently  used  in  pro- 
ductions; but  to  be  available  for  acceptance  by  managers  or 
artists,  they  must  be  exceptionally  well  written  both  as 
regards  words  and  melody,  and  must  contain  something 
more  than  that  which  is  termed  "ordinarily  good." 


45 


CHAPTER  IV. 

FINISHING  TOUCHES  PREVIOUS  TO  PUBLICATION — SUBMITTING 
Mss.  TO  A  PUBLISHER. 

The  song  being  completed  in  both  lyrics  and  melody  and 
accompaniment,  the  writer  of  the  lyrics  and  the  composer 
should  confer  together,  play  the  song  over  on  the  piano,  see 
that  the  words  both  in  metre,  feet  (number  of  syllables)  and 
accent  throughout,  fit  the  melody  naturally  and  correctly, 
and  vice  versa.  A  well  written  song  must  fit  both  ways.  If 
there  are  any  questionable  defects,  study  them  over  care- 
fully arid  find  a  means  to  eradicate  any  such  blemishes. 
Haste  and  impatience  should  never  be  allowed  to  influence 
the  mind  of  the  song  writer  who  seeks  success. 

If  possible,  have  your  song  "tried  out"  or  sung  at  some 
public  entertainment,  concert,  or  amateur  minstrel  show. 
Here  you  can  hear  it  sung  by  others  than  yourself,  but  do 
not  let  it  be  publicly  known  that  you  are  the  writer  or 
writers  of  the  song.  You  will  then  see  how  the  song  "goes" 
on  its  own  merits.  Some  hitherto  unseen  or  unsuspected 
defect  may  in  this  way  possibly  be  discovered,  and  you  are 
consequently  able  to  correct  it  before  the  song  goes  to  the 
printer  or  publisher.  Remember  that  when  your  song  is 
published  and  placed  on  sale  it  is  too  late  to  change  it  unless 
you  do  it  very  quickly  and  are  willing  to  go  to  much  extra 
expense.  Be  sure  it  is  as  good  as  you  can  possibly  make  it 
in  all  points  before  it  leaves  your  hand. 

Never  let  your  song  be  printed  or  presented  to  an  artist 
or  a  responsible  publishing  house  unless  the  manuscript 
copy  of  the  music  be  written  in  ink,  in  a  good  legible  hand. 


If  you  are  not  competent  to  do  this,  and  few  amateur  or  pro- 
fessional composers  are,  send  it  to  some  reliable  person  or 
firm  that  makes  a  business  of  writing  and  preparing  manu- 
scripts (Mss.)  for  professional  use  or  publishing  purposes. 

A  poorly  written  Ms.  is  always  greatly  handicapped. 
The  artist  or  publisher  cannot  read  or  play  it  with  ease,  the 
accompaniment  too  often  is  not  written  in  correct  technical 
form,  the  words  are  not  syllabled  or  placed  rightly  under  the 
notes,  and  consequently  interest  is  at  once  lost  in  an  other- 
possibly  good  piece  of  work. 

Some  folks  appear  to  be  under  the  impression  that  the 
average  publisher  sits  all  day  in  his  chair  wringing  his 
hands  in  despair  because  he  cannot  find  any  songs  to 
publish.  These  people  therefore  rush  to  his  assistance  and 
send  him  " music"  to  which  nobody  but  a  hard-hearted  tom- 
cat could  possibly  do  justice.  Don't  emulate  them.  Send 
nothing  but  what  has  artistic  merit,  and  let  it  be  always 
properly  presented  and  worth  the  trouble  of  examining. 
Depend  on  it  a  good  looking  Ms.  will  always  receive  con- 
scientious attention,  while  not  frequently  an  untidy  or 
clumsy  piece  of  work  is  never  even  given  the  chance  of 
examination. 

A  prominent  New  York  publishing  house  once  received 
a  Ms.  by  registered  mail.  It  was  a  song,  or  at  any  rate,  it 
purported  to  be.  It  was  written  on  a  large  sheet  of  dirty 
yellow  paper  which  had  probably  been  used  to  take  home 
Sunday's  leg-of-mutton  from  the  butcher's;  the  lines  of  the 
staff  were  all  carefully  drawn  (it  was  the  only  careful  thing 
about  it)  with  a  quarter  inch  space  between  each,  and  the 
notes  were  literally  "shaded"  in  with  a  soft  lead  pencil, 
and  looked  like  a  heterogeneous  collection  of  decayed  cluck's 


47 


eggs.  The  composition  was  rejected.  Another  firm  received 
a  masterpiece  written  on  a  torn  piece  of  brown  paper  the 
size  of  a  bath  towel.  Of  course  the  result  to  the  respective 
composers  was  nil ! 

An  extra  typewritten  set  of  the  words  should  always  ac- 
company your  complete  Mss.  when  sent  to  artists,  publisher 
or  manager.  Don't  try  to  draw  the  design  yourself  for  your 
title  page  when  sending  your  Ms.  to  a  publisher  for  his  con- 
sideration, unless  you  are  really  an  artist.  If  you  wish  some 
particular  design  that  is  original  or  specially  desired,  ex- 
plain the  subject  clearly  in  words.  It  is  always  the  best 
plan,  however,  to  say  nothing  at  all  about  it.  The  drawing 
of  title  pages  is  an  art  in  itself,  and  the  publisher  knows 
better  than  any  one  else  what  design  or  style  will  bring  the 
best  results. 

When  writing  an  artist  or  a  publisher  requesting  his 
consideration  of  your  Mss.,  one  with  a  view  to  his  using  or 
singing  it,  the  other  in  the  hope  that  he  may  publish  it  and 
include  it  in  his  catalogue  on  royalty,  have  your  letter  type- 
written if  possible,  and  make  it  as  brief  and  courteous  as 
you  can.  The  same  remarks  apply  of  course  when  submit- 
ting a  Ms.  to  a  manager  for  use  in  his  production.  These 
people  are  always  very  busy,  so  don't  do  anything  to  waste 
their  time.  Enclose  addressed  and  stamped  envelope  for 
reply. 

Never  send  your  original  Ms.  copy  to  any  one.  Have  sev- 
eral copies  made,  so  that  if  for  any  reason  a  Ms.  is  lost  or 
not  returned  promptly,  you  are  able  to  continue  your  pro- 
motion of  the  song  by  the  use  of  your  other  copies 


••- 


CHAPTER  V. 
PRINTING  AND  PUBLISHING  YOUR  OWN  COMPOSITION. 

Many  authors  and  composers  prefer  to  publish  and  pro- 
mote their  own  compositions  rather  than  place  them  with 
a  publisher  on  "royalty"  (a  percentage  on  the  sale). 

The  main  reason  for  so  doing  is  undoubtedly  that  the 
owner  may  secure  the  entire  revenue  and  profits  resulting 
from  publication  and  sale.  There  are  numberless  firms  who 
make  a  business  of  printing,  or  who  can  contract  for  same, 
and  it  is  well  to  warn  those  who  desire  to  be  their  own  pub- 
lishers that  they  should  investigate  the  reputation,  style  of 
work,  and  promptness  of  the  firm  with  whom  they  place 
their  orders,  unless  of  course  the  firm  is  of  solid  standing 
and  prestige  which  insures  satisfaction  and  is  a  fact  that 
may  be  readily  ascertained. 

Several  firms  seem  to  presume  that  the  amateur  pub- 
lisher, being  ignorant  of  fair  and  current  prices  for  copy- 
righting, arranging  and  printing  music,  etc.,  or  of  the  neces- 
sary quality  of  such  work  for  successful  use,  presents  what 
might  almost  be  termed  "an  easy  mark."  Such  firms  offer 
very  low  prices  and  estimates  and  the  amateur  is  often  lured 
into  placing  his  work  and  order  with  one  of  them,  the  result 
of  course  bringing  great  dissatisfaction  and  often  regret- 
table disaster. 

The  importance  therefore  of  exercising  care  and  judg- 
ment in  the  selection  of  your  prospective  printing  house  is 
apparent.  Ascertain  from  reliable  source  its  standing,  rep- 
utation and  the  quality  of  work  with  which  it  is  identified, 
before  placing  your  orders. 


Remember  that  first  class  work  demands  just  and  rea- 
sonable prices,  and  a  few  extra  dollars  put  into  the  work  will 
more  than  repay  the  outlay  in  results,  general  satisfaction 
and  success. 

Let  us  assume  that  the  prospective  firm  has  been  decided 
on.  A  letter  should  be  written  requesting  an  estimate  on 
your  Ms.  (a  copy  of  which  should  be  enclosed)  for  printing 
a  certain  number  of  copies.  If  the  firm  also  makes  a  spe- 
cialty (which,  however,  very  few  such  firms  do)  of  editing, 
and  copyrighting,  etc.,  and  these  necessary  points  regarding 
your  Ms.  have  not  already  been  attended  to,  you  should 
further  request  that  in  the  estimate  these  details  be  added 
and  figured  in. 

It  is  far  better  to  have  one  firm  take  the  entire  matter  in 
hand,  as  the  result  will  always  be  more  satisfactory,  pro- 
vided, of  course,  you  select  a  firm  which  makes  a  specialty 
of  covering  this  class  of  work  from  start  to  finish. 

The  estimate  being  duly  received,  considered  and  found 
satisfactory,  write  your  acceptance,  at  the  same  time  re- 
questing that  your  order  shall  be  delivered  to  you  at  a 
certain  date.  Thirty  days  is  usually  sufficient  for  a  reliable 
firm  to  complete  the  order. 

When  the  copies  are  received  (the  plates  by  the  way  be- 
ing usually  retained  by  the  printer,  who  keeps  them  in  a 
fireproof  vault  for  your  safety,  and  thus  facilitates  matters 
when  you  desire  a  second  edition  printed)  the  amateur  pub- 
lisher naturally  seeks  to  discover  the  best  means  to  attract 
public  attention  and  promote  popularity  for  the  composi- 
tion. 

Some  suggestions  for  assisting  towards  a  solution  of 
this  interesting  problem  will  doubtless  be  of  value. 

In  the  first  place,  the  local  music  dealers  or  department 


stores  must  be  considered.  Take  a  sample  copy,  see  the 
buyers ;  if  possible  play  the  composition  over  for  them,  offer 
the  first  order  for  copies  at  what  is  termed  an  "Introduc- 
tory" rate,  which  is  usually  lOc.  per  copy,  and  request  them 
to  display  and  push  the  music  to  the  best  advantage.  Future 
orders  for  your  composition  should  be  sold  to  the  trade  for 
from  12l/2  to  15  cents  a  copy,  presuming  of  course  that  the 
marked  price  on  the  cover  of  your  composition  is  50  cents 
(usually  designated  by  a  figure  5).  This  marked  price  is 
customary  on  all  popular  songs. 

Secondly,  there  are  the  music  teachers,  who  provide  an 
excellent  medium  for  disposing  of  your  composition,  assum- 
ing, of  course,  that  it  is  of  a  character  suitable  for  or 
adapted  to  the  requirements  of  pupils  or  their  public  use  of 
same. 

Thirdly,  advertise  in  the  papers  and  trade  magazines. 
This  medium  is  generally  a  very  useful  one.  A  neat  and 
happily  worded  article  inserted  in  your  daily  paper  or 
papers  describing  the  composition,  the  author  and  com- 
poser, the  artist  or  artists  who  are  singing  the  song,  or 
those  who  will  use  it  at  a  coming  public  entertainment,  will 
attract  great  attention;  and  if  the  composition  is  a  song,  a 
cut  showing  all  or  a  portion  of  the  chorus  or  refrain,  both 
words  and  melody,  will  greatly  increase  the  chances  of 
creating  a  good  local  demand. 

An  attractive  advertisement  placed  in  one  or  more  of  the 
recognized  musical  trade  papers,  such  as 

The  Music  Trades 

The  Music  Trade  Review 

Musical  America 

The  Musical  Age 

all  of  which  organs  devote  several  pages  of  each  issue  to 
sheet  music  and  music  publishers,  will  gain  the  attention  of 

51 


the  sheet  music  dealers  throughout  the  country  in  a  general 
way.  All  these  periodicals  are  published  in  New  York. 

Local  promotion,  however,  and  your  own  personal  efforts 
earnestly  exerted  in  the  direction  of  making  the  composition 
the  "popular"  hit  of  your  particular  city  or  locality,  are  the 
best  means  after  all,  for  if  the  piece  has  merit  and  you  con- 
trive to  have  it  sung  and  played  at  every  conceivable  oppor- 
tunity, it  will  spread  rapidly,  news  of  it  will  be  carried  to 
other  towns  and  cities,  some  one  will  sing  it  there,  others 
will  want  copies,  and  a  sort  of  endless  chain  is  set  in  motion. 

As  soon  as  your  composition  shows  signs  of  recognition 
by  the  public,  and  consequently  of  possessing  the  essentials 
of  popularity,  it  is  a  good  plan  to  expend  a  little  more  money 
in  having  it  arranged  for  orchestra  or  brass  band,  or  both, 
and  then  printed  in  this  form. 

If  your  composition  is  a  song,  have  it  arranged  in  some 
popular  dance  form  such  as  a  waltz,  two-step  or  schottische, 
for  orchestra.  A  skilful  arranger  who  is  accustomed  to  such 
work  can  readily  adapt  any  style  of  popular  song  to  one  or 
other  of  the  above  mentioned  forms  of  dancing.  This  being 
done,  secure  a  list  of  the  names  and  addresses  of  all  the  local 
band  and  orchestra  leaders.  Mail  to  each  of  them  a  copy, 
accompanied  by  a  neat  and  concise  note  requesting  them  to 
play  the  piece  at  all  their  dances  and  engagements.  If 
programs  are  used,  ask  them  to  print  the  title  on  same. 
Should  your  composition  show  signs  of  popularity  around 
town,  these  leaders  will  be  only  too  glad  to  play  the  ar- 
rangement. 

But  remember  a  good  arrangement  for  either  brass  band 
or  orchestra  is  imperative.  Some  arrangers  are  adepts  in 
preparing  a  composition  for  large  orchestras,  but  the  ar- 


92 


rangement  is  absolutely  useless  for  the  small  ones.  The  ar- 
gument applies  equally  well  the  other  way.  These  arrange- 
ments to  be  effective  and  to  do  the  composition  justice,  must 
be  written  to  suit  both  the  large  and  very  small  organiza- 
tions, and  only  a  skilful  professional  arranger  accustomed 
to  this  work  should  be  consulted. 


CHAPTER  VI. 

PRESENTING  Mas.  TO  A  PUBLISHING  HOUSE  FOR  PUBLICATION. 
SELLING  OUTRIGHT.    ROYALTIES. 

If  the  author  and  composer  feel  that  they  are  not  pre- 
pared to  publish  and  handle  their  composition  personally 
and  to  achieve  success,  there  is  always  the  other  medium — 
the  regular  publisher  of  music. 

Compositions  to  be  presented  to  a  publisher  should  be 
expertly  arranged  or  edited,  and  neatly  written  in  proper 
form.  A  brief  letter  should  accompany  your  Mss,,  couched 
in  terms  similar  to  the  following : 

Messrs.  Jones  &  Smith, 

New  York  City. 

Dear  Sirs:     Enclosed  herewith  please  find  Ms.  of  my 

composition  entitled  '  * , ' '  which  I  desire 

to  place  with  your  firm  on  royalty.  Kindly  give  same  your 
attention  and  consideration,  and  if  available  for  your 
catalogue,  advise  me  and  send  contracts  for  my  signa- 
ture. If  unavailable,  return  Ms.  for  which  I  enclose  neces- 
sary postage. 

Very  truly  yours, 

John  Blank. 


If  you  desire  to  sell  your  composition  outright,  word 
your  letter  as  follows : 

Messrs.  Jones  &  Smith, 

New  York  City. 

Dear  Sirs:     Enclosed  herewith  please  find  Ms.  of  my 

composition  entitled  " ",  which  I  desire 

to  sell  outright.  Kindly  give  same  your  consideration,  and 
if  agreeable  to  you,  state  your  best  cash  offer.  If  unavail- 
able for  your  catalogue,  return  Ms.  at  your  early  conven- 
ience for  which  I  enclose  necessary  postage.  Awaiting 
your  favors,  I  remain, 

Very  truly  yours, 

John  Blank. 

If  you  wish  to  stipulate  a  certain  price  at  the  outset, 
mention  it.  Furthermore,  should  you  have  already  printed 
and  published  your  piece,  and  should  it  have  attained  a  cer- 
tain measure  of  popularity,  and  you  desire  to  sell  outright, 
mention  to  what  extent  the  composition  has  caught  on,  and 
give  reference  of  your  local  music  dealers,  etc. 

The  usual  course  to  pursue  in  the  case  of  an  unpublished 
Ms.  is  to  place  it  with  a  publisher  on  a  royalty  basis.  If  the 
song  is  successful,  this  arrangement  always  results  much 
more  satisfactorily  to  the  author  from  a  financial  stand- 
point. 

"Royalty,"  it  should  be  explained,  is  a  certain  stipula- 
ted percentage  given  the  owner  or  owners  of  a  Ms.  on  all 
sales  of  the  composition  during  the  life  of  the  copyright, 
Copies  issued  by  the  publisher  as  "new  issues,"  that  is  to 
say,  copies  sent  to  the  trade  at  a  very  low  price  as  a  means 

55 


of  introducing  same,  also  enabling  the  music  dealer,  should 
he  have  a  call  for  the  piece,  to  have  one  or  more  copies  on 
hand  so  that  he  may  know  that  the  piece  is  published  and 
by  whom ;  also  the  copies  that  are  given  away  to  profession- 
al singers,  soiled  copies,  etc.,  are  not,  of  course,  included 
among  those  on  which  royalty  is  paid.  It  is  needless  to  add 
that  a  reliable  publisher  invariably  exercises  a  judicious 
control  as  regards  the  circulation  and  disposition  of  copies 
on  which  there  is  no  royalty  given. 

By  placing  your  composition  with  a  publisher  of  music 
you  are  relieved  of  all  expense  and  speculation  and  the  time 
that  would  otherwise  be  devoted  to  its  promotion  and  sale 
is  saved.  The  publisher,  after  acceptance  of  your  composi- 
tion, assumes  entire  control  of  it  and  everything  connected 
with  it,  from  the  time  of  its  acceptance  to  the  day  on  which 
it  appears  on  the  market.  Having  at  his  command  countless 
channels  and  avenues  for  its  exploitation  and  sale,  he  stands 
in  a  far  better  position  to  promote  success  for  a  good  com- 
position than  the  private  individual  could  ever  hope  to 
attain. 

Royalty  contracts  offered  by  the  representative  publish- 
ers differ  in  many  of  their  minor  points,  but  their  general 
and  main  features  are  nearly  all  the  same. 

Two  cardinal  points  to  be  looked  into  when  a  contract  is 
offered  and  received  for  your  signature  are : 

(a)  The  amount  of  royalty  offered ;  and, 

(b)  A  time  limit  for  the  publication  of  "regular"  copies 

(that  is  the  copies  offered  for  sale)  to  be  set,  so 
that  if  the  composition  is  not  published  within 
the  period  stipulated  (usually  six  months)  the 
owner  of  the  Ms.  is  at  liberty  to  dispose  of  it  else- 
where and  the  Ms.  will  be  returned  to  him  on  de- 
mand. 


•• 


The  sum  of  5  cents  (or  10  per  cent.)  was,  and  in  some 
cases  still  is,  the  usual  amount  of  royalty  offered  in  con- 
tracts upon  each  copy  sold  at  regular  rates  as  above  de- 
scribed. During  the  past  few  years  this  was  equitable 
enough,  and  the  publisher  of  "popular"  music  was  able  to 
pay  it.  Recently,  however,  competition  has  become  so  keen 
that  wholesale  prices  have  dropped.  The  expenses  in  con- 
nection with  the  placing  of  compositions  before  the  public 
and  their  general  promotion,  in  many  cases  involving  noth- 
ing short  of  absolutely  forcing  their  popularity,  now  con- 
stitute so  much  heavier  an  item  of  cost  that  no  honest 
publisher  can  afford  to  pay  five  cents  a  copy  on  composi- 
tions taken  on  royalty. 

It  is  far  more  satisfactory,  therefore,  and  adds  much  to 
the  peace  of  mind  of  both  author  and  composer  to  accept  a 
royalty  of  3  cents  per  copy,  or  even  less. 

Statements  of  royalty  are  usually  rendered  every  three 
or  six  months.  These  periods  are  not  calculated  from  the 
date  of  the  publication  of  the  composition,  but  are  computed 
from  January  the  1st  of  each  year,  thus, — the  1st  of  April, 
July,  October  and  January,  on  quarterly  statements;  and 
the  1st  of  July  and  January  on  half-yearly  statements. 

In  placing  compositions  on  royalty  with  publishers  a 
transfer  of  or  sole  right  to  the  copyright  of  the  composition 
is  invariably  demanded  by  the  publisher.  Occasionally  the 
composition  is  bought  outright  by  the  publisher.  Where 
this  arrangement  obtains,  the  author  and  composer  are  re- 
quired to  sign  a  bill  of  sale  or  an  assignment  paper.  In  this 
they  release  all  their  right,  title  and  interest  in  the  said 
composition  to  the  publisher  or  purchaser.  A  composition 
offered  in  this  way  to  a  publisher  does  not  command  any 
great  amount  of  money,  for  the  reason  that  all  untried  Mss. 


57 


are  an  unknown  quantity  and  no  one  can  positively  predict 
either  their  future  success  or  failure.  Should  the  owner  or 
owners  of  the  composition  in  question  have  succeeded  in 
placing  it  with  some  well  known  artist  or  performer,  or  with 
some  first-class  metropolitan  production,  and  proof  is  fur- 
nished the  publisher  that  the  composition  will  be  positively 
sung  and  produced  in  this  manner,  the  value  of  the  piece  is 
at  once  somewhat  enhanced.  But  it  is  just  as  well  to  re- 
member that  the  good  old  adage,  "What  is  sauce  for  the 
goose  is  sauce  for  the  gander,"  admirably  adapts  itself  in 
the  case  of  author  or  composer  and  publisher. 

A  reliable  publisher  will  not  accept  your  Mss.  if  he  does 
not  think  that  ttiMiai  ic  >i  reasonable  possible  chance  of  suc- 
cess for  them.  Suooooo  far  me  publisher  means  success  fin- 
ancially for  you.  Incidentally,  your  reputation  as  a  writer 
is  brought  to  the  front,  which  naturally  counts  for  a  good 
deal  to  you.  Reputation,  however,  will  avail  nothing  if  the 
quality  of  your  work  does  not  at  all  times  back  it  up.  It  is 
far  better  to  write  two  or  three  songs  that  are  really  good 
and  novel  in  all  points  than  to  "manufacture"  an  endless 
stream  of  Mss.  of  merely  mediocre  quality. 


CHAPTER  VII. 
HINTS  AND  DON'TS. 

Watch  your  competitors.  Note  their  success  or  failure ; 
analyze  the  cause  and  profit  thereby. 

Note  public  demand. 

If  you  do  not  feel  confident  to  write  or  compose  a  certain 
style  of  song,  stick  to  the  kind  you  are  sure  of,  and  gradu- 
ally, adapt  yourself  to  the  others,  if  possible,  before  public- 
ly presenting  your  work. 

Avoid  slang  and  vulgarism;  they  never  succeed. 

Avoid  many-syllabled  words  aflid  tMuijeJ^ontaining  hard 
consonants,  wherever  possible. 

In  writing  lyrics  be  concise;  get  to  your  point  quickly 
and  when  you  arrive  there  make  the  point  as  strong  as  pos- 
sible. 

Simplicity  in  melody  is  one  of  the  great  secrets  of  suc- 
cess. 

Let  your  melody  musically  convey  the  character  and 
sentiment  of  the  lyrics. 

Don't  try  and  write  your  music  with  a  fine  pointed  pen. 
Use  either  a  stub  or  a  three-pointed  music  pen. 

Don't  use  blotting  paper  on  your  written  composition; 
let  the  ink  dry. 

Use  a  good  black  ink  for  writing.  You  can  buy  regular 
Music  Ink  at  any  good  stationer's. 

Try  and  acquire  a  good  hand  for  writing  music,  If  you 
find  you  cannot  accomplish  this  or  acquire  the  knack  with 
any  degree  of  satisfaction,  let  some  one  do  this  who  is  com- 
petent. 

A  poorly  written  manuscript  is  always  handicapped 
when  presented  to  a  publisher,  artist  or  manager. 


59 


Use  good  music  paper.  Cheap  paper  is  never  satisfac- 
tory; the  ink  dries  through  and  shows  on  the  reverse  side. 
If  it  be  necessary  to  scratch  or  erase  any  of  your  writing  it 
is  practically  impossible  to  write  on  the  erased  portion  of 
a  cheap  paper  again  without  hopelessly  blurring  the  whole 
thing. 

In  syllabling  your  words  under  the  notes,  the  divisions 
are  not  always  made  according  to  Webster,  but  are  very 
often  ruled  by  the  way  the  respective  divisions  sound  when 
sung.  The  following  examples  of  five  words  selected  at  ran- 
dom will  show  the  difference  in  syllabling  words  in  songs : 


ll'ebstcr 


Mus  -  ic 


I'ocal   di'ision   —    Mu  -  sic 


•  Stor  -  y 
Sto  -  ry 

Prom  -  en  -  ade 
Prom  -  e  -  nade 


Re  -  cord 
Rec  -  ord 


Sail  -  or 
Sai  -  lor 


Some  composers  in  writing  their  manuscripts  use  repeat 
marks  for  measures  which  are  exactly  similar  in  either  the 
treble  or  bass  clef  to  the  preceding  measure  or  measures. 
Thus : 


?: 


Glid   •    ing  round      the     ball  room 


With       your  "ba    -    by 


i 


^ 


9    9 


or,  where  two  measures  in  both  treble  and  bass  clefs  a/e  ex- 
actly  similar  to  the  two  preceding  measures,  the  following 
form  of  repeat  mark  is  used : 


It  is,  however,  always  better  to  avoid  the  use  of  these 
devices.  Write  everything  out  just  as  it  should  appear  in 
printed  form.  No  mistakes  can  then  arise. 

When  writing  "popular"  songs,  always  remember  that 
it  is  the  masses,  the  untrained  musical  public,  to  whom  you 
must  largely  look  for  support  and  popularity.  Don't,  there- 
fore, offer  them  anything  which  in  subject  or  melody  does 
not  appeal  to  their  ear.  It  is  so  much  time  thrown  away  if 
you  do. 

When  you  write  to  or  visit  a  publisher,  don't  worry  him 
with  a  history  of  what  you  have  written  or  accomplished. 
He  cares  nothing  about  it,  for  no  matter  how  many  suc- 
cesses you  may  have  had,  or  how  popular  your  name  may 
have  become,  if  the  composition  which  you  offer  does  not 
possess  the  merits  he  regards  as  necessary,  your  former 
successes  will  not  make  your  present  offering  of  any  greater 
value  than  that  which  would  attach  to  the  work  of  an  ut- 
terly unknown  writer. 

If  a  publisher  tells  you  coldly  that  he  cannot  use  your 
composition,  do  not  show  or  feel  that  you  are  hurt ;  and  do 
not  make  the  foolish  mistake  of  telling  him  that  he  evidently 
does  not  know  a  good  composition  when  he  sees  one.  Even 
if  he  may  suffer  from  so  great  a  misfortune,  recollect  that 


he  is  the  purchaser  and  the  party  who  has  to  invest  the 
money.  It  is  therefore  his  privilege  to  accept  or  refuse, 
and  it  is  his  judgment  that  counts  and  nobody  else's.  Al- 
ways be  gracious  and  polite,  for  you  never  know  how  soon 
you  may  need  one's  interest  and  good  will  in  some  other 
connection. 

Don't  be  in  a  hurry. 

Don't  think  that  everything  you  write  is  a  "sure  hit." 
Neither  you  nor  anyone  else  knows  the  outcome  until  the 
public  pronounces  the  verdict. 

Don't  let  your  vanity  get  the  upperhand  of  you.  Often 
an  outside  suggestion  properly  considered  will  be  of  ines- 
timable value. 

Don't  be  "penny  wise  and  pound  foolish."  If  with  the 
outlay  of  a  few  more  dollars  you  can  enhance  the  value  of 
your  work  out  of  all  proportion  to  the  extra  money  invested, 
it  will  surely  be  a  case,  if  ever  there  was  one,  of  money  well 
spent. 

Don't  forget  to  enclose  a  separate  typewritten  set  of  the 
words,  if  your  Ms.  be  a  song. 

Don't  get  too  easily  discouraged.  If  at  first  you  don't 
succeed,  try  again. 

Don't  give  up  "pushing"  your  song  until  it  has  had 
every  chance.  Remember  that  because  you  or  your  im- 
mediate friends  have  grown  tired  of  it  through  familiarity, 
there  are  thousands  and  thousands  to  whom  it  is  still  a 
novelty. 

Don't,  when  your  name  at  last  appears  on  the  title  page 
of  a  piece  of  music,  sit  all  day  admiring  it.  Get  out  and 
hustle.  Let  others  do  the  admiring.  It  is  much  more  ef- 
fective. 

Finally,  don't  fold  your  Mss.  when  mailing  them.  Either 
roll  them  or  place  them  flat  between  paste-boards. 


How  TO  COPYRIGHT. 

If  you  desire  to  copyright  your  own  composition  or  any  other 
piece  of  music,  address  a  letter  to  the  Librarian  of  Congress, 
Copyright  Office,  Washington,  D.  C.,  and  kindly  request  him  to 
mail  you  one  or  more  Application  Copyright  Registration  Blanks, 
which  he  will  send  you  free  of  charge.  Directions  for  filling  out 
Application  Blanks  and  fullest  information  on  how  to  proceed  to 
obtain  correct  coyprights  for  your  compositions  will  be  found 
upon  the  back  of  the  Blank.  Entry  fee  for  a  composition  is  50c. ; 
Certificate  fee  50c.  extra;  making  a  total  of  One  Dollar. 

The  law  explicitly  requires,  in  addition,  the  transmission  of  a 
printed  copy  of  the  title,  which  must  be  sent  with  the  Applica- 
tion in  order  to  insure  entry  of  copyright.  If  typewritten  title  is 
sent  it  will  be  used,  but  at  the  risk  of  the  applicant.  No  entry  can 
be  made  upon  a  written  title.  Preferably  the  printed  title  cover 
of  music  should  be  sent,  when  this  contains  complete  title  with 
names  of  author  of  the  words  and  composer  or  arranger  of  the 
music  and  the  instrumentation.  Typewritten  titles  are  accepted 
upon  the  sole  responsibility  of  the  sender. 

The  law  also  requires,  in  addition  to  the  entry  of  title,  the 
deposit  of  two  complete  copies  of  the  best  edition  of  the  work 
itself,  not  later  than  the  day  of  publication  in  this  or  any  foreign 
country. 

Copies  of  the  blank  application  forms  can  be  obtained  as 
stated  above.  Make  requests  for  blank  forms  in  separate  com- 
munications, not  as  part  of  a  letter  relating  to  other  copyright 
business. 

Remittances  should  always  be  made  preferably  by  money 
order,  or  by  express  order  or  blank  draft.  Currency  or  coin 
should  not  be  sent,  and  checks  only  upon  special  arrangement 
with  the  Register  of  Copyrights.  Postage  stamps  should  under 
no  circumstances  be  sent  for  copyright  fees. 


DICTIONARY   OF   RHYMES 


DICTIONARY    OF    RHYMES 


A,  compare  ER.  OR 


ACE — Cont. 


AB 

plaice 

mlsplacr 

race 

ecklace 

cab 

tab 

space 

outlace 

crab 

drab 

trace 

outpace 

dab 

gab 

abase 

replace 

nab 

grab 

apace 

retrace 

slab 

scab 

birthplace 

solace 

stab 

debase 

surface 

AC,  ACK 

deface 

terrace 

disgrace 

unlace 

back 

cardiac 

embrace 

Interlace 

black 

maniac 

chase 

populace 

clack 

zodiac 

dace 

displace 

claque 

demoniac 

face 

efface 

'crack 

elegiac 

grace 

grimace 

hack 

sac 

horserace 

knack 

sack 

lac 

slack 

ACH,   ATCH 

lack 

smack 

batch 

smatch 

pack 

stack 

catch 

snatch 

.plague 

tack 

hatch 

swatch 

quack 

track 

latch 

thatch 

attack 

whack 

match 

attach 

lilac 

wrack 

patch 

despatch 

nick-nack 

arrack 

ratch 

detach 

almanac 

scratch 

AGO 

ACHE 

(see  AKE) 

ace 

lace 

ACT 

base 

mace 

brace 

pace 

act 

fract 

case 

place 

fact 

pact 

67 


ACT—  Cont. 

ADE  —  Cont. 

tact 

infract 

unlade 

decade 

tract 

protract 

upbraid 

degrade 

attract 

react 

accolade 

dissuade 

co-act 

refract 

ambuscade 

evade 

compact 

retract 

barricade 

facade 

contact 

diffract 

bastinado 

grenade 

contract 

subact 

cannonade 

invade 

detract 

subtract 

cavalcade 

milkmaid: 

abstract 

transact 

centegrade 

parade 

distract 

cataract 

colonnade 

fusilade 

enact 

counteract 

esplanade 

gasconade- 

cpact 

Incompact 

afraid 

lemonade 

exact 

precontract 

arcade 

marmalade 

extract 

re-enact 

blockade 

masquerade 

impact 

brigade 

overlade 

Also  the 

preterites  of  verbs 

brocade 

palisade 

in  ack,  as 

tack'd. 

cascade 

pasquinade 

AD 

chamade 

renegade 

cockade 

retrograde 

add 

pad 

crusade 

serenade 

bad 

plaid 

Also  the 

preterites  of  verb* 

brad 

rad 

in    ay,    ey, 

eigb,    as    prey'd,. 

clad 

sad 

slelgh'd. 

fad 

shad 

gad 

wad 

ADGE 

glad 

dryad 

badge 

cadge 

had 

footpad 

A  T^IT* 

lad 

monad 

AFM2 

mad 

salad 

chafe 

waif 

naif 

unsafe 

ADE 

safe 

vouchsafe 

aid 

made 

bade 

maid 

AFF,  ALF 

blade 

raid 

draff 

giraffe 

braid 

shade 

gaff 

riff-raff 

cade 

spade 

laugh 

tipstaff 

fade 

trade 

naff 

cenotaph 

glade 

persuade 

quaff 

epitaph 

grade 

pervade 

staff 

paragraph 

jade 

relald 

carafe 

quarter-staff 

lade 

tirade 

distaff 

AFT 

AGE,  compare   IDGE  —  Cor 

aft 

raft 

cortege 

heritage 

craft 

shaft 

courage 

hermitage- 

draft 

waft 

crlbbage 

parentage 

draught 

abaft 

dotage 

parsonage 

graft 

ingraft 

engage 

pasturage 

haft 

handicraft 

enrage 

patronage 

Also  the 

preterites  of  verbs 

hostage 

percentage 

in  off,  nugh,  as  quaff'd. 

marriage 

personage 

manage 

pilgrimage 

AO 

menage 

vlllanage 

bag 

quag 

message 

concubinage 

brag 

rag 

foliage 

cag 

sag 

crag 

scrag 

AID  (see  ADE) 

drag 

shag 

fag 

slag 

AIL—  ALB 

flag 

stag 

ale- 

detail 

gag 

swag 

bail 

entail 

hag 

tag 

bale 

exhale 

Jag 

wag 

brail 

female 

knag 

tag-rag 

dale 

pail 

lag 

zig-zag 

fail 

pale 

nag 

flail 

quail 

frail 

rail 

AGE, 

compare  IDGE 

gale 

sail 

age 

passage 

grail 

sale 

cage 

peerage 

hail 

scale 

gage 

potage 

hale 

shale 

gauge 

presage 

jail 

snail 

page 

salvage 

mail 

stale 

rage 

sausage 

male 

swale 

sage 

scutage 

nail 

tail 

stage 

village 

wail 

tale 

swage 

•wreckage 

wale 

trail 

wage 

appanage 

whale 

vale 

adage 

appendage 

assail 

veil 

assuage 

disengage 

avail 

impale 

baggage 

equipage 

blackmail 

prevail 

mirage 

cabbage 

bewail 

regale 

mortgage 

corsage 

curtail 

retail 

AIL— ALE— Cont. 


A1Y— ANE— Cont. 


.wholesale 

farthingale 

vein 

explain 

aventall 

nightingale 

wain 

henbane 

countervail 

wane 

maintain 

abstain 

murrain 

AIM—  AME 

amain 

obtain 

aim 

tame 

arraign 

ordain 

blame 

acclaim 

attain 

pertain 

came 

became 

campaign 

profane 

claim 

declaim 

champagne 

refrain 

dame 

defame 

complain 

regain 

fame 

disclaim 

constrain 

remain 

flame 

exclaim 

bontaln 

restrain 

frame 

inflame 

curtain 

retain 

game 

misname 

detain 

sustain 

lame 

nickname 

disdain 

appertain 

malm 

proclaim 

distrain 

entertain 

name 

reclaim 

xlomaln 

hurricane 

frame 

surname 

enchain 

same 

overcame 

shame 

AINT 

AIN— ANB 


bane 

pane 

blain 

plain 

brain 

plane 

cane 

rain 

chain 

reign 

crane 

rein 

deign 

sane 

drain 

skein 

fain 

slain 

fane 

sprain 

feign 

stain 

gain 

strain 

grain 

swain 

lain 

thane 

lane 

train 

main 

twain 

mane 

vain 

pain 

vane 

faint 

feint 

quaint 

saint 

taint 

acquaint 

attaint 


complaint 

mayn't 

plaint 

constraint 

distraint 

restraint 


AIR— ARE 


air 

flare 

bare 

gare 

bear 

glair 

care 

glare 

chair 

hair 

dare 

hare 

e'er 

heir 

ere 

lair 

fair 

mare 

fare 

ne'er 

70 


AIR  —  ARE  —  Cont. 

pair 

aware 

pare 

beware 

pear 

coheir 

scare 

compare 

share 

declare 

•snare 

despair 

spare 

elsewhere 

square 

ensnare 

stair 

forbear 

stare 

forswear 

swear 

howe'er 

tare 

impair 

tear  (verb) 

prepare 

there 

repair 

ware 

whate'er 

wear 

whene'er 

where 

where'er 

yare 

debonnalr 

affair 

howsoe'er 

armchair 

millionaire 

AIRS — ARES 

theirs  unawares 

And  the  plurals  of  nouns  and 
the  third  persons  singular  of 
verbs  in  are,  air,  eirj  as  mares, 
repairs. 


blaze 
craze 
daze 
feaze 


AISE—  AZE 

phrase 
praise 
raise 
raze 


gaze  amaze 

glaze  cross-ways 

graze  paraphrase 

maze 

Also  the  plurals  of  nouns, 
and  the  third  person  singular 
of  verbs  in  ay,  ey,  elgb;  as 
lays,  obeys,  weighs. 


\il-\n; 

bait 

calculate 

bate 

candidate 

date 

captivate 

eight 

castigate 

fate 

celebrate 

gait 

celibate 

gate 

circulate 

grate 

congregate 

great 

consecrate 

hate 

contemplate 

late 

cultivate 

mate 

dedicate 

pate 

delegate 

plate 

delicate 

prate 

deprecate! 

rate 

slate 

sate 

straight 

irate 

strait 

migrate 

wait 

narrate 

abate 

prostrate 

await 

rebate 

belate 

relate 

collate 

sedate 

create 

translate 

cremate 

abdicate 

debate 

abrogate 

dilate 

accurate 

elate 

adequate 

estate 

advocate 

frustrate 

aggravate 

ingrate 

agitate 

innate 

alienate 

desolate 

animate 

desperate 

anotate 

dislocate 

antedate 

dissipate 

apostate 

educate 

arbitrate 

elevate 

arrogate 

emigrate 

aspirate 

emulate 

cachinate 

estimate 

71 


AIT— ATE— Cent. 


AIT— ATB— Cont. 


extricate 

suffocate 

confederate 

expostulate 

formulate 

syndicate 

congratulate 

exterminate 

fornicate 

terminate 

considerate 

facilitate 

fortunate 

tete-a-tete 

contaminate 

illiterate 

generate 

titivate 

co-operate 

illuminate 

hesitate 

tolerate 

corroborate 

immoderate 

hibernate 

triturate 

debilitate 

importunate 

imitate 

vindicate 

degenerate 

inanimate 

immolate 

violate 

deliberate 

initiate 

impetrate 

abominate 

,  denominate 

insatiate 

imprecate 

accelerate 

depopulate 

intemperate 

Innovate 

eccentuate 

disconsolate 

intimidate 

instigate 

accommodate 

v  discriminate 

intoxicate 

Intimate 

accumulate 

effeminate 

Invalidate 

intricate 

adulterate 

elaborate 

investigate 

irfitate 

affectionate 

emancipate 

prognosticate 

Inundate 

annihilate 

emasculate 

recriminate 

magistrate 

anticipate 

equivocate 

regenerate 

•meditate 

articulate 

eradicate 

reiterate 

micturate 

assassinate 

evaporate 

reverberate 

mitigate 

capacitate 

exaggerate 

subordinate 

moderate 

capitulate 

exasperate 

unfortunate 

nominate 

chalybeate 

expectorate 

obstinate 

coagulate 

oscillate 

commemorate 

AITH,  ATH 

(see  EATH) 

passionate 

commiserate 

penetrate 

communicate 

AKE,  compare  EAK 

perforate 

compassionate 

ache 

sake 

perpetrate 

Inveterate 

bake 

shake 

personate 

Inviolate 

brake 

snake 

derogate 

legitimate 

break 

spake 

predicate 

matriculate 

cake 

stake 

profligate 

necessitate 

drake 

steak 

propagate 

participate 

fake 

take 

regulate 
reprobate 
ruminate 

precipitate 
predestinate 
predominate 

flake 
hake 

wake 
awake 

rusticate 

premeditate 

lake 

bespake 

separate 

prevaricate 

make 

betake 

stipulate 

procrastinate 

quake 

corn-crake 

subjugate 

potentate 

rake 

forsake 

72 


AKE,  compare  EAK  —  Cont. 

AL—  Cont 

keepsake 

partake 

physical 

hymeneal 

mandrake 

overtake 

principal 

Imperial 

mistake 

snowflake 

prodigal 

intellectual 

namesake 

undertake 

rational 

original 

seneschal 

poetical 

AL 

several 

political 

pal 

shall 
cabal 
canal 
cymbal 
dismal 

capital 
cardinal 
carnival 
comical 
conjugal 
cordial 

sepulchral 
temporal 
terminal 
tragical 
whimsical 
colloquial 

problematical 
prophetical 
reciprocal 
rhetorical 
satirical 
sempiternal 

dual 
equal 
feudal 

corporal 
criminal 
critical 

dogmatical 
equinoctial 
equivocal 

schtsmatlcal 
tyrannical 

final 

decimal 

formal 

festival 

ALD 

legal 

funeral 

bald 

piebald 

loyal 

general 

scald 

emerald 

martial 

genial 

Also  the 

preterites  of  verbs 

medal 

hospital 

In  all,  awl; 

as  call'd,  bawl'd. 

metal 

inimical 

mettle 

initial 

ALE  (see  AIL) 

mortal 

interval 

naval 

liberal 

ALP 

(see  AFF) 

partial 

literal 

pedal 

littoral 

ALK  —  AUK,  compare  ORK 

portal 

madrigal 

rival 
regal 

magical 
medical 

auk 
balk 

mawk 
stalk 

royal 

mineral 

baulk 

talk 

rural 
total 

municipal 
musical 

calk 
chalk 

walk 
tomahawk 

n«i  wk 

trivial 

mystical 

admiral 

natural 

animal 

nocturnal 

ALL 

annual 

octagonal 

awl 

call 

arsenal 

pastoral 

ball 

caul 

autumnal 

pedestal 

bawl 

crawl 

cannibal 

personal 

brawl 

drawl        ' 

ALL  —  Cont. 

AME  (see  AIM) 

fall 

stall 

AMP 

gall 

tall 

hall 

thrall 

camp 

scamp 

haul 

trawl 

champ 

stamp 

mall 

wall 

clamp 

swamp 

pall 

appal 

cramp 

vamp 

scrawl 

enthral 

damp 

decamp 

shawl 

football 

lamp 

encamp 

small  . 

install 

sprawl 

waterfall 

AN 

squall 

windfall 

ban 

artisan 

bran 

barracan 

ALM 

(see  ARM) 

can 

caravan 

clan 

charlatan 

ALT 

fan 

Christian 

fault 

asphalt 

man 

courtesan 

halt 

assault 

pan 

musician 

malt 

default 

plan 

ottoman 

salt 

exalt 

ran 

partisan 

vault 

scan 

pelican 

span 

publican 

ALVE 

swan 

cosmopolitan 

tan 

attitudinarian 

calve 

salve 

van 

latitudinarian 

halve 

wan 

organ 

began 

orphan 

AM 

divan 

pagan 

cram 
dam 

beldam 
madam 

foreran 
trepan 

sedan 
platitudinarian 

unman 

cam 

quondam 

clam 
damn 

wigwam 
malgam 

ANCE 

dram 

diagram 

chance 

balance 

ham 

diaphragm 

dance 

enhance 

jamb 

epigram 

glance 

consonance 

lamb 

monogram 

lance 

countenance 

ram 

oriflamb 

prance 

defiance 

sham 

telegram 

trance 

dissonance 

swam 

parallelogram 

advance 

ignorance 

bedlam 

askance 

importance 

ANCE—  Cont.                                         ANO—  Com. 

maintenance 

circumstance 

slang 

harangue 

ordinance 

complaisance 

swang 

rang 

purveyance 

concordance 

twang 

sang 

sufferance 

temperance 

sustenance 

utterance 

ANGE 

expanse 

vigilance 

Intrance 

deliverance 

change 

arrange 

mischance 

exorbitance 

grange 

estrange 

romance 

extravagance 

range 

exchange 

seance 

exuberance 

strange 

interchange 

ambulance 

inheritance 

arrogance 

intemperance 

ANK 

ANCH 

bank 

rank 

blank 

shank 

blanch 

paunch 

crank 

slank 

branch 

ranche 

drank 

spank 

ganch 

stanch 

frank 

stank 

haunch 

carte-blanche 

hank 

thank 

launch 

plank 

disrank 

prank 

mountebank 

AND 

clank 

band 

command 

bland 

demand 

ANM: 

(see  ANCE) 

brand 

disband 

gland 

exband 

ANT 

grand 

withstand 

hand 

contraband 

ant 

adamant 

land 

countermand 

aunt 

arrogant 

sand 

deodand 

cant 

combatant 

stand 

reprimand 

chant 

complaisant 

strand 

understand 

grant 

consonant 

wand 

pant 

conversant 

plant 

cormorant 

ANE 

(see  AIN) 

rant 
slant 

covenant 
disputant 

remnant 

dissonant 

ANG 

servant 

dominant 

bang 

gang 

supplant 

elegant 

clang 

hang 

tenant 

elephant 

fang 

pang 

transplant 

ignorant 

ANT— Cont. 


jubilant 

poignant 

lieutenant 

protestant 

militant 

recreant 

40»lant 

recusant 

displant 

ruminant 

enchant 

termagant 

gallant 

vigilant 

Implant 

visitant 

merchant 

exorbitant 

mordant 

extravagant 

rampant 

Inhabitant 

recant 

predominant 

miscreant 

significant 

petulant 

AP 

cap 

pap 

chap 

rap 

clap 

sap 

dap 

scrap 

flap 

slap 

gap 

snap 

hap 

strap 

lap 

tap 

map 

trap 

nap- 

wrap 

enwrap 

entrap 

mishap 

APIS 

ape 

nape 

cape 

rape 

chape 

scape 

crape 

scrape 

drape 

shape 

grape 

tape 

Jape 

escape 

APSE 

lapse  perhaps 

elapse  relapse 

Also  the  plurals  of  nouns, 
and  the  third  person  singular 
of  verbs  in.ap;  as  maps,  raps. 

APT 

apt  adapt 

Also  the  preterites  of  verbs 
In  ap;  as  rapp'cl. 


APH  (see  AFF) 


AQIE 

(see  ACK) 

AR 

are 

felspar 

bar 

friar 

car 

guitar 

char 

hookah 

far 

hussar 

jar 

liar 

mar 

mortar 

pa 

nectar 

par 

unbar 

scar 

angular 

spar 

avatar 

star 

calendar 

tar 

caviare 

war 

cinnabar 

afar 

popular 

bazaar 

regular 

briar 

secular 

cellar 

scimitar 

catarrh 

singular 

cigar 

titular 

collar 

vinegar 

debar 

particular 

durbar 

perpendicular 

barb 
garb 


ARB 

rhubarb 


AU<  K — ARSE 

farce  sparse 


arc 

parse 

ark 

ARCH,      compare      ARK     and 

bark 
cark 

clerk 

ABSH 

dark 

arch                      parch 

lark 

larch                     starch 

mark 

march                  countermarch 

park 

ABO 

bard                     custard 

card                      dastard 

carl 

guard                    discard 
hard                       dotard 

gnarl 
marl 

lard                        drunkard 

nard                     leopard 

shard                     niggard 

arm 

sward                   petard 

balm 

ward                    regard 

barm 

yard                     renard 

harm 

bastard                retard 

palm 

blackguard         vineyard 

psalm 

blizzard               wizard 
bombard              disregard 

qualm 
alarm 

charade                interlard 

coward 

Also  the  preterites  of  verbs 

in  ar;  as  barr'd. 

barn 

darn 

ARF  (see  AFF) 

ARGE 

barge                   large 

carp 

charge                 marge 

harp 

ARGE — Cont. 

discharge  o'ercharge 

enlarge  surcharge 

ARK 

shark 

spark 

stark 

embark 

monarch 

remark 

hierarch. 

hereslarch 


A  HI. 

parle 
snarl 


ARM 

becalm 

calm 

charm 

farm 

disarm 

gendarme 

salaam 


ARN 

tarn 
yarn 

ARP 

snarp 
counterscarp 


77 


ARSli     see  also  ARCH)                            ASH—  Cont. 

harsh 

marsh 

mash 

slash 

pash 

smash 

ART 

plash 

thrash 

rash 

trash 

art 

start 

sash 

abash 

cart 

tart 

dart 

apart 

hart 

braggart 

ADK 

heart 

depart 

ask 

flask 

mart 

dispart 

bask 

hask 

part 

impart 

cask 

mask 

smart 

counterpart 

ASM 

ARTH 

(see  EARTH) 

chasm 

sarcasm 

ARVE 

spasm 

cataplasm 

mlasm 

enthusiasm 

carve 

starve 

phantasm 

protoplasm 

AS 

ASP 

ass 

amass 

asp 

grasp 

brass 

cuirass 

clasp 

hasp 

class 

harass 

gasp 

rasp 

crass 

morass 

grass 

repass 

lass 

surpass 

ASS   (see  AS) 

mass 

coup  de  grace 

pass 

embarrass 

AST 

alas 

erysipelas 

blast 

avast 

ASE 

(see  ACE) 

cast 
caste 

bombast 
forecast 

fast 

repast 

ASH 

roast 

outcast 

ash 

dash 

last 

overcast 

bash 

flash 

past 

enthusiast 

brash 

gash 

vast 

iconoclast 

cash 

gnash 

aghast 

clash 

hash 

Also  the 

preterites   of  v< 

crash 

lash 

In  •»•!  as 

mass'd. 

7t 


ASTE 

baste  waste 

chaste  distaste 

taste  haste 

waist  paste 

Also  the  preterites  of  verbs 
In  ace,  aae;  as  lac'd,  chas'd. 

AT 


AUK   (see  ALK) 
AUN   (see  AWN) 

AUNT,  compare  ANT 


daunt 
flaunt 
gaunt 
jaunt 


taunt 
haunt 
vaunt 
avaunt 


bat 

sat 

AUSE—  AUZE 

brat 

spat 

cat 

sprnt 

cause 

pause 

chat 

tat 

clause 

applause 

fat 

that 

gauze 

because 

flat 

vat 

Also    the    plurals   of   nouns. 

gnat 

cravat 

and  the 

third  person  singular 

hat 

cushat 

of  verbs 

in  arv;  as  laws,  caws. 

mat 

polecat 

pat 

acrobat 

rat 

AVE 

ATCII  (see  ACH) 

brave 

shave 

cave 

slave 

ATE   (see  AIT) 

clave 

stave 

ATH   (see  EATH) 

crave 
gave 

wave 
behave 

ATHE  (see  EATHE) 

grave 

deprave 

AUB  (see  OB) 

knave 
lave 

engrave 
forgave 

nave 

margrave 

AUD 

pave 

outbrave 

bawd 

abroad 

rave 

architrave 

broad 

applaud 

save 

fraud 

defraud 

laud 

AW 

Also  the  preterites  of  verbs 
in  aw;  as  caw'd. 

AUGH  (see  AFF) 
AUGHT    (see  AFT— CRT) 


chaw 

claw 

craw 

daw 

draw 


flaw 

gnaw 

haw 

jaw 

law 


AW  —  Cont. 

maw 

cat's-paw 

paw 

guffaw 

raw 

hawhaw 

saw 

Jackdaw 

squaw 

withdraw 

straw 

overawe 

thaw 

usquebaugh 

foresaw 

AY— Cont. 


AWL  (see  ALL) 
AWN  compare  ORN 


awn 

brawn 

dawn 

drawn 

fawn 

lawn 


axe 

flax 

lax 

tax 

wax 

borax 

climax 


pawn 

prawn 

spawn 

yawn 

withdrawn 


AX 

gimcracks 

poll-tax 

nicknacks 

relax 

thorax 

parallax 


Also  the  plurals  of  nouns, 
and  the  third  person  singular 
of  verbs  in  ak;  as  backs,  lacks. 


grey 

hay 

Jay 

lay 

may 

neigh 

pay 

play 

pray 

prey 

ray 

say 

slay 

spray 

stay 

stray 

sway 

they 

tray 

tway 

way 

weigh 

whey 

affray 

allay 

array 

astray 

away 

ballet 

belay 

betray 


bewray 

convey 

decay 

defray 

delay 

denay 

dismay 

display 

essay 

gainsay 

horseplay 

hurrah 

inveigh 

levee 

obey 

portray 

purvey 

relay 

repay 

soiree 

subway 

survey 

tramway 

dejeuner 

disarray 

disobey 

matinee 

roundelay 

stowaway 

runaway 

cabriolet 


AY 


aye 

bray 

clay 

day 

dray 


eh? 

fay 

flay 

fray 

gay 


AZE   (see  AISE) 

CRE,  CHRE    (see  ER) 

E,  EA    (see  EE) 


cease 
geese 


EACE,  EASE: 
greas-- 
fleece 


- 


EACE,  EASE — Cont. 

lease  decease 

niece  decrease 

peace  increase 

piece  release 

apiece  surcease 

caprice  frontispiece 


BACH 


beach 

bleach 

breach 

each 

peach 


preach 
reach 
teach 
Impeach 


EAD  (see  EDE  and  EED) 
EAF  (see  IEF) 


EAGUE 


league 

league 
fatigue 


Intrigue 
renege 


EAK,  compare  AKE 

Words  In  eek  may  be  al- 
lowed to  pass  as  almost  per- 
fect rhymes  with  beak. 


EAK,  compare  AKE — Cont 

teak  bezlque 

weak  bespeak 

week  critique 

wreak  obllqu* 
antique 

i   \  i  ,  EEL 

deal  weal 

dell  heal 

eel  heel 

feel  keel 

leal  kneel 

meal  wheal 

peal  wheel 

peel  zeal 

reel  anneal 

seal  appeal 

squeal  conceal 

steal  congeal 

steel  repeal 

teal  reveal 


EALM— ELM 


elm 

helm 

realm 


whelm 
overwhelm 


beak 

peak 

EALTH. 

bleak 

pique 

health 

wealth 

cheek 

reek 

stealth 

commonwealth 

clique 

seek 

creak 
creek 

sheik 
shriek 

EAM—  EEM 

eke 

sleek 

beam 

gleam 

freak 

sneak 

bream 

team 

leak 

speak 

cream 

teem 

leek 

squeak 

deem 

theme 

meek 

streak 

dream 

beseem 

81 


EAM — KEM — Cont. 

blaspheme  seem 

esteem  stream 

ream  extreme 

scheme  misdeem 

scream  redeem 

scam  supreme 

EAMT— KMPT 


EAP 


cheap 

sheep 

creep 

sleep 

rtcep 

steep 

heap 

sweep 

keep 

weep 

neap 

asleep 

peep 

beweep 

EAR 


dreamt 

contempt 

tempt 

exempt 

beer 

career 

attempt 

cheer 

clear 

deer 

dear 

BAN—  BEN 

ear 

cohere 

fear 

compeer 

Words    in    con    may   be    al- 

fleer 

endear 

lowed  to   pass 

as  almost  per- 

gear 

revere 

tect  rhymes  to 

bean. 

hear 

severe 

bean 

guillotine 

here 

sincere 

clean 

Intervene 

jeer 

veneer 

dean 

sheen 

leer 

auctioneer 

e'en 

seen 

mere 

bandolier 

glean 

skein 

near 

buccaneer 

green 

spleen 

peer 

chandelier 

keen 

teen 

queer 

chanticleer 

lean 

wean 

rear 

chiffonier 

mean 

ween 

sear 

disappear 

mien 

between 

seer 

domineer 

queen 

canteen 

sheer 

engineer 

screen 

careen 

smear 

gondolier 

demesne 

convene 

sneer 

hemisphere 

foreseen 

demean 

spear 

interfere 

machine 

margarine 

sphere 

mountaineer 

obscene 

nicotine 

steer 

muleteer 

routine 

quarantine 

tier 

musketeer 

serene 

submarine 

veer 

mutineer 

unclean 

tambourine 

year 

persevere 

aniline 

vaseline 

adhere 

pioneer 

crinoline 

velveteen 

appear 

privateer 

austere 

charioteer 

EANT  (! 

see  ENT) 

besmear 

82 


EARCH    (sec    ERCH) 

EAT,   EET  —  Cont. 

KARD   (see  ERD) 

escheat                retreat 

estreat                 obsolete 

EARL    (sec  URL) 

replete                  plebiscite 

EARN  (see  ERN) 

EART   (sec  ART) 

EATH,  ETII 

baith       .             wreath 

EARTH—  ERTH 

breath                  underneath 

heath                    death 

berth                    earth 

ncath                    faith 

birth                     mirth 

wraith 

dearth                  worth 

And   the  archaic   third   per 

EAST 

son  singular  of  verbs. 

beast                    least 

east                      priest 

EATHE 

feast 

breathe                wreathe 

Also  the  preterites  of  verbs 

seethe                  bequeathe 

tn  eu.se;  as  ceas'd. 

sheathe 

EAT,  EET 

EAVE 

"Words    in    eet    may    be    al- 

cleave                 bereave 

lowed  to  pass   as  almost  per- 

eave                    conceive 

fect  rhymes  to  beat. 

eve                        deceive 

beat                      sheet 

grieve                  unweave 

bleat                     sleet 

heave                    perceive 

cheat                    stjeet 

leave                    receive 

eat                        sweet 

sleeve                   relieve 

feat                      treat 

thieve                  reprieve 

feet                       wheat 

weave                   disbelieve 

fleet                      complete 

achieve                 interleave 

greet                    conceit 

aggrieve              interweave 

heat                     concrete 

believe 

meat                    deceit 

meet                      defeat 

EB,   EBB 

mete                      discreet 

neat                     discrete 

bleb                      web 

seat                     entreat 

ebb 

beck 
check 
deck 
neck 

geek 


ECK 

neck 

peck 

apec 

speck 

wreck 

ECT 


ED  —  Cont 

bred 

behead  v 

dead 

homestead 

dread 

Instead 

tread 

misled 

wed 

o'erspread 

abed 

EDE  (see  EED) 


sect 

project 

affect 

protect 

EDGE,  compare  AGE,  IDGE 

aspect 

reflect 

collect 

reject 

edge 

pledge 

correct 

respect 

fledge 

sedge 

deject 

select 

hedge 

wedge 

direct 

subject 

kedge 

allege 

dissect 

suspect 

ledge 

knowledge 

detect 

architect 

effect 

circumspect 

EE  (see 

Y.  second  list) 

eject 

disaffect 

elect 

disrespect 

bee 

hour! 

erect 

Indirect 

flea 

lessee 

expect 

Intellect 

flee 

on  dit 

Infect 

Incorrect 

free 

rupee 

Inspect 

recollect 

glee 

trustee 

neglect 

retrospect 

gree 

calipee 

object 

he 

cap-a-pla 

see 

committee 

Also  the 

preterites  of  verbs 

she 

Coterie 

In  eckj  as 

henpeck'd. 

spree 

key 

tea 

knee 

ED 

thee 

lea 

three 

lee 

bed 

red 

tree 

me 

bled 

said 

agree 

nee 

bread 

shed 

bawbee 

plea 

fed 

shred 

decree 

sea 

fled 

sped 

degree 

devotee 

head 

spread 

foresee 

disagree 

lead 

stead 

fusee 

filigree 

read 

thread 

grandee 

jubilee 

S4 


EE  (see  y, 

jeu  d'esprit 

mortgagee 

nominee 

peccavl 

pedigree 

recipe 

referee 

repartee 

simile 


second  list) — Cont 

vis-a-vis 
animalculae 
con  amore 
extempore 
felo  de  se 
fac  simile 
hyperbole 
lapsus  linguae 
sotto  voce 


Words  ending  in  y  short;  as 
merry,  symmetry. 


EED,  EDE 


bead 

bleed 

breed 

creed 

deed 

feed 

heed 

knead 

lead 

mead 

meed 

need 
plead 

read 
seed 
speed 


steed 

weed 

concede 

decreed 

exceed 

impede 

indeed 

linseed 

precede 

proceed 

recede 

succeed 
stampede 

intercede 
supersede 
velocipede 

EEP  (see  IEP) 
EEK  (see  EAR) 


breeze 

cheese 

ease 

freeze 

please 

seize 

sneeze 

squeeze 


tease 

these 

wheeze 

appease 

disease 

displease 

dives 


Also  the  plurals  of  nouns  In 
«e,  ea;  as  fees,  seas. 

JEET  (see  EAT) 
EF  (see  IEP) 


EFT 


cleft 

left 

theft 


weft 
bereft 


beg 
egg 
leg 
keg 


EG 

peg 
seg 
philabeg 

EGM  (see  EM) 

EIGN  (see  AIN) 

EIPT   (see  AIN) 

EINT  (see  AINT) 


EEL  (see  EAL) 


EIT  (see  EAT) 


EL 


ELK 


bell 

libel 

elk 

whelk 

belle 

mongrel 

kelk 

cell 

hell 

dwell 

knell 

ELM 

(see  EALM) 

ell 

mell 

fell 

quell 

ill' 

smell 

sell 

spell 

shell 

help 

whelp 

swell 

petrel 

kelp 

yelp 

tell 

rebel 

well 

repel 

ELT 

yell 

sorrel 

befell 

towel 

belt 

melt 

compel 

vowel 

dealt 

pelt 

dispel 

yokel 

dwelt 

smelt 

excel 

asphodel 

felt 

welt. 

expel 

calomel 

gelt 

foretell 

citadel 

gazelle 

doggerel 

ELVE 

hotel 

infidel 

hovel 

muscatel 

delve 

shelve 

impel 

parallel 

helve 

twelve 

laurel 

sentinel 

eld 

geld 

held 


ELD 


beheld 
upheld 
withheld 


Also  the  preterites  of  verbs 
in  ell;  as  swell'd. 


gem 

hem 

kemb 

phlegm 

stem 

them 

anthem 


condemn 

contemn 

anadem 

apothegm 

diadem 

requiem 

stratagem 


EME  (see  EAM) 


ELF 


delf 

elf 

pelf 


self 

shelf 

himself 


dreamt 

tempt 

attempt 


EMPT 


contempt 

exempt 

unkempt 


!0 


EN 


ENCE.  ENSE — Cont. 


den 

acumen 

eloquence 

Innocence 

fen 

citizen 

eminence 

Indifference 

ben 

cozen 

evidence 

Intelligence 

ken 

dozen 

excellence 

Incontinence 

men 

foemen 

frankincense      impenitence 

pen 

frozen 

inference 

Impertinence 

ten 

hyphen 

impotence 

Improvidence 

then 

omen 

Impudence 

magnificence 

wren 

open 

indigence 

munificence 

amen 

oxen  _ 

indolence 

omnipotence 

sharpen 

seamen 

syren 

semen 

vixen 

denizen 

IN'    II 

warden 

oxygen 

bencn 

tench 

clench 

trench 

ENCE 

,  ENSE 

drench 

wrench 

quench 

intrench 

stench 

retrench 

cense 

penitence 

dense 

preference 

fence 

providence 

END 

hence 

recompense 

pence 

reference 

bend 

forefend 

sense 

residence 

blend 

impend 

thence 

reverence 

end 

misspend 

whence 

vehemence 

friend 

lend 

commence 

violence 

tend 

mend 

condense 

benevolence 

vend 

rend 

defence 

circumference 

amend 

send 

dispense 

concupiscence 

ascend 

spend 

expense 

silence 

attend 

offend 

Immense 

suspense 

befriend 

obtend 

incense 

abstinence 

commend 

portend 

Intense 

conference 

contend 

pretend 

nonsense 

confidence 

defend 

protend 

offence 

consequence 

depend 

suspend 

pretence 

continence 

descend 

transcend 

prepense 

difference 

distend 

unbend 

prudence 

diffidence 

expend 

apprehend 

negligence 

diligence 

extend 

comprehend 

87 


END — Cont. 


ENT— Cent 


condescend 

reprehend 

excrement          lament 

dividend 

reverend 

exigent                misspent 

recommend 

facculent             o'erspent 

firmanent            ostent 

Also  the 

preterites  of  verbs 

flatulent              present 

In  e»»  as  kenn'd. 

fraudulent          prevent 

fundament         relent 

ENE  (see  EAN) 

government        repent 

imminent            resent 

impertinent       rodent 

ENGE 

Implement          sergeant 

avenge 

revenge 

impotent             solvent 

Impudent            strident 

ENGTH 

Incident               student 

indictment          tangent 

length 

strength 

indigent              torment 

indolent               torrent 

ENT 

Innocent              unbent 

insolent               abasement 

bent 

extent 

Instrument         accident 

lent 

ferment 

languishment     aliment 

pent 

foment 

ligament             argument 

meant 

frequent 

malcontent         banishment 

rent 

indent 

management      battlement 

scent 

intent 

monument          blandishmen 

sent 

invent 

negligent            chastisement 

spent 

condiment 

arbitrament       circumvent 

tent 

confident 

armipotent         concurrent 

vent 

continent 

astonishment     competent 

went 

corpulent 

belligerent         complement 

absent 

detriment 

bellipotcnt          compliment 

ascent 

different 

benevolent          nourishment 

assent 

diligent 

disparagement  nutriment 

augment 

discontent 

embellishment  Occident 

cement 

document 

establishment    opulent 

consent 

element 

equivalent          ornament 

content 

eloquent 

experiment         parllment 

crescent 

eminent 

impenitent          penitent 

descent 

evident 

imprisonment    permanent 

dissent 

excellent 

improvident       pertinent 

ENT— Cont. 


ER,  ERR,  compare  OR.  UR 


precedent 

tournament 

blur 

martyr 

president 

turbulent 

burr 

master 

prevalent 

underwent 

cur 

miller 

provident 

vehement 

err 

miser 

punishment 

violent 

purr 

mitre 

ravishment 

virulent 

sir. 

murmur 

redolent 

accomplishment 

slur 

nadir 

regiment 

acknowledgment 

spur 

ogre 

represent 

admonishment 

stir 

oyster 

resident 

indifferent 

whirr 

pauper 

reticent 

Incandescent 

aver 

forerunner 

reverent 

incompetent 

barber 

gardener 

rudiment 

incontinent 

blister 

grasshopper 

sacrament 

intelligent 

brother 

harbinger 

sediment 

irreverent 

cadger 

islander 

sentiment 

lineament 

caper 

lavender 

settlement 

magnificent 

cipher 

lawgiver 

subsequent 

malevolent 

cloister 

loiterer 

succulent 

mendicament 

clover 

luclfer 

supplement 

omnipotent 

codger 

mariner 

tenement 

temperament 

coster 

massacre 

testament 

cruiser 

messenger 

dapper 

minister 

daughter 

murderer 

ENTS 

(see  ENCE) 

dempster 

officer 

deter 

passenger 

BP 

differ 

pillager 

douceur 

presbyter 

nep 

skep 

foster 

prisoner 

rep 

demirep 

ginger 

provender 

step 

heifer 

register 

hunger 

reveller 

inter 

sepulchre 

EPT 

lawyer 

slanderer 

leather 

sophister 

crept 

accept 

ledger 

flr 

kept 

adept 

leper 

fur 

sept 

except 

Lobster 

her 

slept 

Intercept 

lover 

myrrh 

wept 

lubber 

pepper 

ER,  ERR,  compare  OR.UR  —  Cent. 

ERCH 

pilfer 

bespatter 

church 

search 

prefer 

canister 

lurch 

smirch 

plunger. 

character 

perch 

research 

rambler 

chorister 

robber 

conjurer 

ERD 

rooster 

cottager 

rover 

cucumber 

bird 

herd 

scatter 

cylinder 

heard 
Also  the 

sherd 
preterites  of  verbs 

simper 

dowager 

in  er,  nr;  as  err'd,  purr'd. 

singer 

flatterer 

sinner 

forager 

i  >  i  •  i  •» 

sister 

foreigner 

EHK 

skipper 

sorcerer 

scurf 

surf 

sloper 

terrier 

serf 

turf 

smatter 

theatre 

smuggler 

thunderer 

soldier 

traveller 

ERGE 

sombre 
spinster 
stammer 

usurer 
villager 
victualler 

dirge 
merge 

diverge 
urge 

purge 

verge 

steamer 

voyager 

scourge 

emerge 

stopper 

waggoner 

serge 

immerge 

stutter 

wanderer 

surge 

summer 

administer 

temper 

adulterer 

toper 

artificer 

\ 

ERM 

trapper 

astronomer 

firm 

affirm 

transfer 

astrologer 

term 

confirm 

trooper 

filibuster 

worm 

whisper 

idolater 

arbiter 

Interpreter 

ERN 

armiger 

philosopher 

barrister 

amphitheatre 

burn 

adjourn 

churn 

concern 

Also  the  comparative  of  ad- 

dern 

discern 

jectives     and     nouns     formed 

earn 

return 

from    verbs 

in    y;    as    higher, 

fern 

learn 

buyer. 

hern 

quern 

kerne 

spurn 

ERCE 

(see  ERSE) 

yearn 

stern 

90 


tern 
turn 
urn 


curse 

hearse 

nurse 

purse 

terse 

verse 

worse 

accurse 

adverse 

amerce 

asperse 

averse 


blurt 

curt 

dirt 

flirt 

hurt 

vert 

wert 

wort 

advert 

assert 

avert 

concert 

convert 

culvert 

desert 


ERN — Cont. 

sojourn 
overturn 


ERSE 

coerce 

converse 

commerce 

disperse 

immerse 

perverse 

rehearse 

reverse 

traverse 

intersperse 

reimburse 

universe 


i  n\  i 


dessert 

pert 

shirt 

skirt 

spurt 

squirt 

divert 

exert 

expert 

inert 

insert 

Invert 

pervert 

subvert 

controvert 


ERTH   (see  EARTH) 


curve 

disserve 

nerve 

observe 

serve 

preserve 

swerve 

reserve 

conserve 

.subserve 

deserve 

l>,  ESS 

bless 

profess 

cess 

recess 

chess 

redress 

cress 

actress 

dress 

address 

guess 

artless 

less 

assess 

mess 

caress 

press 

compress 

stress 

confess 

tress 

congress 

yes 

countess 

abbess 

countless 

abscess 

depress 

access 

digress 

duress 

distres? 

express 

duchess 

excess 

repress 

fortress 

sadness 

fruitless 

seamstress 

gladness 

sickness 

guileless 

spotless 

guiltless 

success 

hopeless 

tigress 

impress 

transgress 

largess 

acquiesce 

madness 

adultress 

oppress 

bashfulness 

possess 

coalesce 

princess 

effervesce 

ES,  ESS  —  Cont. 

ET,  ETTE 

pennyless           foolhardlncss 

bet 

casttnet 

And  numerous  compounds  in 

debt 

cigarette 

!«••  and  ness. 

fret 

cadet 

get 

carpet 

E5B  (see  EESE) 

Jet 

coquet 

let 

coquette 

met 

corset 

ESH 

net 

couplet 

flesh                    thresh 

set 

cricket 

fresh                  afresh 

sweat 

cygnet 

mesh                   refresh 

threat 

diet 

wet 

dulcet 

ESK 

whet 

fidget 

Jet 

forget 

desk                     morcsque 

abet 

gazette 

burlesque           arabesque 

banquet 

hamlet 

grotesque           picturesque 

basket 

leaflet 

beget 

magnet 

EST 

beset 

pamphlet 

blanket 

picket 

best                    digest 

bracelet 

piquette 

breast                 chest 

brunette 

quiet 

guest                  crest 
Jest                     divest 

regret 
rosette 

quartet 
quintet 

lest                      Infest 

roulette 

coronet 

nest                     Inquest 

sestet 

epaulette 

pest                     Invest 
quest                    molest 
rest                     obtest 
test                     protest 
vest                     request 
west                    suggest 
Abreast               unrest 
arrest                  interest 
attest                  manifest 
'bequest               overdrest 
contest               palimpsest 

jt  at  A«t 

serviette 
signet 
streamjet 
target 
ticket 
toilet 
triplet 
upset 
vignette 
alphabet 
amulet 

epithet 
etiquette 
floweret 
marionette 
martinet 
mignonette 
minaret 
minuet 
novelette 
omelette 
parapet 

Gclcol 

anchoret 

parroquet 

Also  the  preterites  of  verbs 

basinet 

pirouette 

in  essj  as  express'd. 

bayonet 

rivulet 

ET,  ETTE— Cent. 


EX 


.•vioiet 

wagonette 

•ex 

convex 

vex 

Index 

ETCH 

annex 

perplex 

fetch 

stretch 

apex 
codex 

reflex 
vortex 

sketch 

wretch 

complex 

circumflex 

ETH   (see  EATH) 
ETE   (see  EAT) 

EVE  (see  EAVE> 
BUD  (see  ur>E) 
BUM  (see  UME) 


Also  the  plurals  of  nouns  and 
the  preterites  of  verbs  In  eckt 
as  decks,  recks. 

EY  (see  AT) 
I  (see  T.  first  list) 


EW, 

compare  OO 

bib 

nib 

crib 

rib 

eve 

Imbue 

glib 

squib 

--flew 

few 

due 

hew 

IBE 

Jew 

hue 

knew 

nephew 

bribe 

prescribe 

mew 

mildew 

scribe 

proscribe 

new 

perdue 

tribe 

subscribe 

pew 

purlieu 

ascribe 

transcribe 

sue 

pursue 

describe 

diatribe 

view 

renew 

imbibe 

superscribe 

yew 

review 

inscribe 

adieu 

statue 

anew 

subdue 

1C 

(see  ICK) 

askew 

avenue 

bedew 
bellevue 

Impromptu 
Interview 

ICE, 

compare  ISE 

curfew 

parvenu 

dice 

slice 

emew 

residue 

ice 

vice 

endue 

retinue 

mice 

advice 

ensue 

revenue 

nice 

concise 

eschew 

price 

device 

ICE,  compare   ISE  —  Cont. 

ICK  —  Cont 

entice 

splice 

lunatic                  poetta 

precise 

rice 

lymphatic           politic 

suffice 

thrice 

magnetic             prophetic 

paradise 

sacrifice 

majestic               dyspeptic 

spice 

mechanic             eccentric 

mimetic               epidemic 

ICH 

(see    ITCH) 

memphitic           hieroglyphic 

narcotic               Idiomatic 

ICK 

nomadic               morganatic 

pacific                  paleocrystic 

brick 

artistic 

pathetic               panegyric 

chick 

bucolic 

phlegmatic         peripatetic 

kick 

prognostic 

plethoric             prognostic 

lick 

quixotic 

nick 

realistic 

ICT 

pick 

rhetoric 

quick 
sick 

romantic 
schismatic 

strict                    conflict 
addict                  inflict 
afflict                    relict 

stick 

splenetic 

convict                contradict 

thick 

antiseptic 

tick 
trick 

antagonistic 
arithmetic 

Also  the  preterites  of  verbs 
in  Ick;  as  kick'd. 

attic 

'  beatific 

arctic 

cabalistic 

ID 

antic 

catholic 

bid                        eyelid 

caustic 

choleric 

chid                       florid 

chronic 

didactic 

grid                      foetid 

colic 

dogmatic 

hid                        forbid 

comic 

domestic 

kid                        frigid 

critic 

dramatic 

lid                         hybrid 

cynic 

electric 

quid                       morbid 

drastic 

emetic 

rid                        orchid 

hectic 

emphatic 

slid                       placid 

physic 

erratic 

aquid                   rabid 

picnic 

euphonic 

acid                       solid 

plastic 

exotic 

amid                      sordid 

rustic 

forensic 

arid                       torpid 

acrostic 

heretic' 

bestrid                  turgid 

agnostic 

Iambic 

Also  the  preterites  of  verbs 

aquatic 

fantastic 

in  ry;  as  married,  buried. 

H 


IDE  IB  (see  T) 

IEP 

beef  sheaf 


bide  beside  n  r 

bride  bestride 

chide  collide 


brief  reef 

8  ,/                    T11?,  chlef                   thief 

Si  flef                      belief 

hide                     deride  ,  . 

pride                  divide  *£'                  reller 

ride  misguide 

side                      preside  JEGE 

slide  provide 

stride                  reside  liege                    asslege 

tide                      subside  siege                   besiege 

wide  parricide 

abide                    regicide  IELD 

aside  subdivide 

astride                suicide  field                     wield 

betide                  Infanticide  shield                  yield 

Also  the  preterites  of  verbs  weald 

in  le,  y>  as  died,  defied,  and  Also  the  preterites  of  vcrbi 

in  eel;  as  wheel'd. 

IDES 

IEN  (see  EAN) 
ides  besides 

Also    the    plurals    of   nouns  IEND  (see  END) 
and  the  preterites  of  verbs  in 

idej  as  tides,  rides.  IERCE  (see  SREE) 

IDGE,  compare  AGE  IES  (see  IS,  ISE) 
bridge                 college 

fidge                    steerage  ^^  <see  EAST) 
midge                  privilege 

ridge                  sacrilege  IEVE  <see  EAVE) 

abridge 

IF,  IFF 

IDST  cliff                      whiff 

didst                    amidst  skiff                    caitiff 

midst  sniff                    caliph 

Also  the  second  person  sin-  stiff                      dandriff 

gular  of  verbs  in  Id;  as  bldd'st.  tiff                       mjdwlfe 


• 


plaintiff 
sheriff 


fife 

knife 

life 


IF,  IFF— Cent 

hieroglyph 


IKK 


in: 


rife 

strife 

wife 


dike 

gllke 

shrike 

spike 
strike 


child 
mild 


alike 
like 
Pike 
dislike 


ILD 

wild 


IPT 


Also  the  preterites  of  verbs 


drift 

whiff't 

In  lie}  as 

smll'd.  revll'd. 

gift 

rift 

lift 

shift 

ILE 

•1ft 

adrift 

thrift 

snowdrift 

aisle 

reconcile 

tiff'd 

spendthrift 

bile 

tile 

chyle 

vile 

10 

file 

while 

guile 

awhile 

big 

rig 

Isle 

beguile 

dig 

snig 

mile 

compile 

fig 

sprig 

pile 

deflle 

gig 

swig 

smile 

edile 

grig 

twig 

stile 

erewhile 

Jig 

whig 

style 

exile 

Pig 

wig 

pensile 

gentile 

prig 

whirligig 

revile 

bibliophile 

crocodile 

IGH  (see  T.  first  list) 

IGHT    (see   ITE) 

IGN   (see  INE) 

IGUE  (see  EAGUE) 


ILL,  compare  ILE 

bill  111 

chill  kill 

drill  mill 

fill  pill 

frill  quill 

Sill  rill 

grill  shrill 

hill  skill 


ILL,  compare  ILE — Com.. 


1MB 


spin 

instil 

chime 

rhyme 

still 

missile 

climb 

slime 

swill 

pencil 

clime 

time 

thrill 

peril 

crime 

thyme 

till 

Sibyl 

grime 

sublime 

trill 

codicil 

lime 

maritime 

will 

daffodil 

prime 

overtime 

distil 

deshabille 

fuini 

utensil 

IMES 

idyll 

betimes 

sometimes 

Also  many  words  In  lie  ac- 
cented on  the  penultimate  or 
antepenultimate  syllable;  as 
fertile,  juvenile. 


Also  the  plurals  of  nouns  and 
the  third  person  singular  of 
verbs  in  Ime;  as  times,  rhymes. 


milk 


ILK 

silk 

ILT 


IMP 


gimp 

imp 

jimp 


limp 
pimp 


built 

hilt 

IMPSE; 

gilt 

jilt 

guilt 

milt 

glimpse 

limps 

quilt 

stilt 

spilt 

tilt 

IN, 

compare  INE 

ILTH 

bin 

spin 

chin 

thin 

filth 

tilth 

din 

tin 

fin 

twin 

gin 

whin 

brim 

rim 

grin 

win 

dim 

skim 

inn 

akin 

grim 

slim 

kin 

begin 

him 

trim 

lln 

buskin 

hymn 
limb 

whim 
pilgrim 

pin 

shin 

chagrin 
eodlA 

limn 

pseudonym 

sin 

griffin 

prim 

synonym 

skin 

margin 

-- 


IN,  compare  INE — Cont. 


INE,  compare  EAN 


maudlin 

welkin 

muffin 

cannakln 

raisin 

javelin 

ruin 

kilderkin 

sanguine 

mandolin 

satin 

manikin 

tiffin 

origin 

tocsin 

palanquin 

virgin 

violin 

urchin 

IMCK 

mince 

since 

prince 

wince 

quince 

convince 

rinse 

evince 

INCH 

clinch 

pinch 

finch 

winch 

inch 

IN  or 

llnk'd 

instinct 

tlnct 

precinct 

distinct 

succinct  * 

extinct 

IXD 

bind 

rind 

blind 

wind 

find 

behind 

grind 

remind 

kind 

unkind 

mind 

brine 

chine 

fine 

kine 

linee 

min 

nine 

pine 

shine 

sign 

sine 

shrine 

syne 

thine 

trine 

twine 

vine 

whine 

wine 

assign 

combine 

condign 

confine 

consign 

decline 

define 


design 

divine 

enshrine 

dine 

entwl-ne 

Incline 

Indlgn 

opine 

recline 

refine 

repine 

saline 

supine 

akallne 

brigantine 

columbine 

concubine 

countermine 

crystalline 

incarnadine 

interline 

leonine 

porcupine 

superfine 

turpentine 

undermine 


There  is  no  certain  rule  as 
to  the  letter  I  in  the  suffix  Ine 
being  long  or  short,  but  in 
either  case  words  so  ending 
form  passable  rhymes.  It  is 
long  in  feline,  confine,  crystal- 
line, turpentine,  etc.;  short  in 
genuine,  heroine,  jessamine, 
medicine,  etc.;  In  such  words 
as  alkaline,  uterine,  custom  is 
unsettled. 


rvc 


Also  the  preterites  of  verbs 
In  laei  as  twin'd. 


bring 
cling 


ging 
fling 


ING — Cont. 


INT 


king 

thing 

dint 

quint 

ring 

wing 

flint 

squint 

sin? 

wring 

hint 

tint 

sling 

darling 

lint 

asquint 

spring: 

foundling 

mint 

imprint 

sting 

startling 

print 

suckling: 

sterling 

yearling 

stripling 

IN  IH 

string 

underling 

swing- 

absinthe 

hyacinth 

plinth 

labyrinth 

Also  the 

present  participles 

of    verbs. 

and    participal    ad- 

IV.X 

Jectlves   In 
laughing;. 

Ing;  as   drinking, 

jinks 
minx 

sphinx 

INGE 


IP 


cringe 

tinge 

chip 
clip 

trip 
whip 

dingo 
fringe 
hinge 

twinge 
lozenge 
Infringe 

dip 
drip 
hip 

courtship 
cowslip 
equip 

singe 

orange 

lip 

friendship 

springe 

syringe 

nip 

gossip 

swinge 

rip 

hardship 

pip 

horsewhip 

scrip 

landslip 

INK 

ship 

township 

sip 

tulip 

blink 

sink 

skip 

turnip 

brink 

sklnk 

slip 

worship 

chink 

slink 

snip 

fellowship 

clink 

stink 

strip 

workmanship 

drink 

swink 

tip 

ink 

think 

link 

wink 

IPE 

pink 

zinc 

rink 

bethink 

gripe 

ripe 

shrink 

forethlnk 

pipe 

snipe 

IPE — Cent. 


IRK— Cont. 


stripe 

type 

wipe 


archetype 
prototype 
stereotype 


IPSE 


Eclipse — rhymes  with  the 
plurals  of  nouns,  and  the  third 
person  singular  of  verbs  In 
fp;  as  nips,  clips. 

IQl  E  (see  EAK) 

IR   (see  ER) 

IRCII  (see  URCH) 

IRD   (see  URD) 


kirk 
lurk 
murk 


chirm 
firm 
term 
worm 


smirk 

stlrk 

work 

IRL   (see  URL) 

IRM 

affirm 

confirm 

infirm 


IRST  (see  URST) 

IRT  (see  ERT) 

IKTII 


IRE,  compare  AR,  ER 

birth 

mirth 

dire 

admire 

dearth 

worth 

fire 

aspire 

earth 

gyre 

attire 

WC         T  / 

hire 

conspire 

1        .       1  '- 

ire 

desire 

his 

whiz 

lyre 

entire 

fizz 

breeches 

mire 

expire 

phiz 

pyre 
quire 
sire 

inspire 
inquire 
require 

Alst> 
nouns 

the    plurals    of    ma 
in  cy,  »yj  as  mercies. 

spire 

retire 

squire 

satire 

ISS 

tire 

transpire 

bliss 

axis 

wire 

umpire 

hiss 

chalice 

acquire 

kiss 

crisis 

miss 

dais 

IRGE 

(see  ERGE) 

splss 

dismiss 

this 

gratis 

IRK 

wls 

jaundice 

burke 

flrk 

abyss 

lattice 

dirk 

jerk 

amis 

lettuce 

100 


ISS— Cont. 


ISH— Cent. 


notice 

prejudice 

cherish 

radish 

novice 

prolapsls 

finish 

relish 

phthisis 

synthesis 

flourish 

squeamish 

remiss 

verdigris 

nourish 

rubbish 

service 

amanuensis 

parish 

astonish 

thesis 

aposlopesls 

perish 

demolish 

analysis 

diagnosis 

antithesis 

metamorphosis 

ISK 

artifice 

metempsychosis 

chrysalis 

metropolis 

brisk 

basilisk 

emphasis 

necropolis 

disc 

obelisk 

paralysis 

parenthesis 

frisk 

odalisque 

risk 

tamarisk 

ISE, 

compare  ICE 

whisk 

guise 

enterprise 

ISM 

prize 

advise 

rise 

assize 

chrism 

mysticism 

size 

chastise 

prism 

nepotism 

wise 

comprise 

schism 

organism 

devise 

despise 

abysm 

occultism 

disguise 
excise 

exercise 
idolise 

altruism 

optimism 

premise 
revise 

pulverise 
realise 

baptism 
deism 

pantheism 
pessimism 

supplies 

Improvise 

theism 

plagiarism 

surmise 

sacriflse 

truism 

radicalism 

surprise 

signalise 

aphorism 

realism 

agonise 

solemnise 

barbarism 

socialism 

authorise 

summarise 

cataclysm 

solecism 

canonise 

sympathise 

criticism 

stoicism 

catechise 
circumcise 
civilize 

tyrannise 
immortalise 
systematise 

egotism 
euphemism 

syllogism 
vandalism 

criticise 

euphuism 

vulgarism 

heroism 

witticism 

Also    the   third    person    sin- 
gular of  verbs  in  yj  as  cries, 
tries. 

hypnotism 
mesmerism 

anachronism 
malthuslanlsm 

ISH 

ISP 

dfsh 

pish 

crisp 

wisp 

fish 

banish 

lisp 

101 


1ST 


IT— Con  t. 


fist 

optimist 

minute 

refit. 

list 

organist 

omit 

remit 

mist 

chemist 

outwit 

submit 

twist 

consist 

orbit 

transmit 

whist 

desist 

permit 

benefit 

wrist 

dentist 

pewit 

Jesuit 

assist 

exist 

rabbit 

perquisite 

artist 

insist 

persist 

linguist 

ITCH. 

resist 

papist 

sophist 

pessimist 

bitch 

rich 

subsist 

pianist 

ditch 

twitch 

alchemist 

pugilist 

hitch 

fitch 

amethyst 

rhapsodist 

itch 

flitch 

annalist 

ritualist 

niche 

which 

analyst 

satirist 

stitch 

witch 

bigamist 

socialist 

switch 

bewitch 

dogmatist 

vocalist 

pitch 

enrich 

eucharist 

anatomist 

exorcist 

antagonist 

ITE 

herbalist 

diplomatist 

humourist 

evangelist 

bite 

incite 

oculist 

rationalist 

blight 

indict 

Also  the  preterites  of  verbs 
in  !••)  as  hiss'd. 

bright 
cite 
fight 

indite 
invite 
midnight 

flight 

moonlight 

IT 

fright 

polite 

bit 

twit 

height 

recite 

cit 

whit 

kite 

requite 

chit 

wit 

knight 

twilight 

fit 

writ 

light 

unite 

flit 

acquit 

mite 

upright 

grit 

admit 

night 

zoophite 

hit 

biscuit 

pight 

aconite 

knit 

bowsprit 

plight 

acolyte 

Pit 

commit 

quite 

anchorite 

quit 

emit 

right 

slight 

sit 

forfeit 

rite 

smite 

split 

hermit 

sight 

spite 

102 


ITK — Cont. 


IVE— Cont. 


sprite 

despite 

forgive 

punitive 

tight 

excite 

furtive 

purgative 

trite 

foresight 

massive 

relative 

white 

disunite 

motive 

sensitive 

wight 

appetite 

native 

subjective 

write 

dynamite 

outlive 

talkative 

acclte 

expedite 

passive 

affirmative 

affright 

oversight 

pensive 

contemplative 

alight 

parasite 

restive 

demonstrative 

aright 

proselyte 

suasive 

diminutive 

bedight 

reunite 

votive 

distributive 

benight 

satellite 

fugitive 

Imaginative 

contrite 

stalactite 

laxative 

inquisitive 

delight 

sybarite 

narrative 

prerogative 

objective 

submissive 

ITH 

perspective 

restorative 

frith 

sith 

positive 

kith 

smith 

pith 

zenith 

IX 

1  1  in: 

fix 

onyx 

six 

prefix 

blithe 

scythe 

mix 

statics 

hithe 

tithe 

nix 

transfix 

lithe 

writhe 

affix 

crucifix 

matrix 

intermix 

IVE 

(as  in  dive) 

mechanics 

mathematics 

dive 

five 

hydrostatics 

rheumatics 

drive 

gyve 

Also  the  plurals  of  nouns  in 

hive 

connive 

lck»}  as  bricks. 

rive 

contrive 

shrive 

deprive 

IZE 

(see  ISE) 

strive 

derive 

thrive 

revive 

O 

alive 

survive 

arrive 

ago 

go 

beau 

hoe 

IVE 

dough 

lo 

give 

sieve 

foe 

mo 

live 

active 

fro 

no 

103 


*/  —  v^iriii. 

OAD  (see  ODE) 

oh 

roe 

stingo 
zero 

OAF  (see  OFF) 

sloe 

apropos 

OAK  (see  OKE) 

though 

calico 

throe 

cameo 

OAL  (see  OLE) 

woe 
banjo 

comme  il  faut, 
domino 

OAM  (see  OME) 

bureau 

de  novo 

OAN  (see  ONE) 

chapeau 

embryo 

chateau 

falsetto 

CAP  (see  OPE) 

cocoa 
dado 

fandango 
folio 

OAR  (see  ORE) 

depot 

indigo 

OARD  (see  ORD) 

echo 

in  petto 

grotto 

libretto 

OAST  (see  OST) 

gusto 

mistletoe 

negro 

mulatto 

OAT  (see  OTE) 

stilletto 

octavo 

OATH  (see  OTH) 

tobacco 

piano 

tomato 

portmanteau 

OB 

tornado 

sirocco 

torpedo 

soprano 

bob                        rob 

virago 

braggadocio 

cob                        sob 

volcano 

imbroglio 

fob                       squab 

adagio 

magniflco 

hob                        swab 

duodecimo 

innuendo 

lob                        throb 

photo 

oratorio 

knob                    cabob 

plateau 

peccadillo 

mob                      hobnob 

polo 

seraglio 

nob                       nabob 

quarto 

generalissimo 

rondeau 

quid  pro  que 

OBE 

solo 

globe                    robe 

lobe                      conglobe 

OACH 

probe 

broach 

abroach 

OCE  (see  OSE) 

brooch 

approach 

coach 

encroach 

OCK 

loach 

reproach 

block                    cock 

poach 

brock                    clock 

104 


^ 

r\sf*.  WVU%« 

ODGE 

crocjc 

toque 

bodge 

lodge 

dock 

rock 

dodge 

podge 

flock 

bannock 

frock 

bullock 

hough 

havoo 

OFF 

knock 

haycock 

cough 

scoff 

lock 

hillock 

doff 

trough 

lough 

padlock 

off 

mocK 

peacock 

shock 

pibroch 

OFT 

sock 
stock 

shamrock 

croft 

soft 

cough'd 

scoff'd 

OCT 

oft 

aloft 

decoct 


concoct 


Also  the  preterites  of  verbs 


OC,   OGL'E 


In  ock; 

as  shock'd. 

bog 

shog 

clog 

agog 

OD 

cog 

prologue 

cod 
clod 
God 

quad 
quod 
rod 

dog 
hog 
fog 
frog 

catalogue 
demagogue 
dialogue 
epilogue 

hod 

shod 

Jog 

pedagogue 

nod 

sod 

log 

synagogue 

odd 

tod 

prog 

plod 

trod 

pod 

wad 

OKI:. 

compare  OISE 

ODE 

choice 

rejoice 

bode 

woad       i 

voice 

code 

abode 

goad 

commode 

OID 

load 

corrode 

void 

alkaloid 

mode 

explode 

avoid 

amyloid 

node 

forebode 

devoid 

cycloid 

ode 

a'-la-mode 

asteroid 

spheroid 

road 

episode 

rode 

incommode 

Also  the 

preterites  of  verbs 

toad 

in  07;  as  buoy'd. 

105 


OIL 


OKE 


boll 

spoil 

broke 

spoke 

coll 

toll 

cloak 

stroke 

foil 

despoil 

croak 

yoke 

moll 

embroil 

folk 

yolk 

oil 

recoil 

joke 

awoke 

soil 

turmoil 

oak 

bespoke 

poke 

Invoke 

OIN 

smoke 

revoke 

coin 

subjoin 

soak 

artichoke 

foln 

sirloin 

groin 

proln 

OL 

join 

quoin 

doll 

extol 

loin 

adjoin 

loll 

alcohol 

purloin 
rejoin 

disjoin 
enjoin 

poll 
carol 

capitol 

OINT 

OLD 

joint 
olnt 
point 
anoint 

appoint 
disjoulnt 
counterpoint 
disappoint 

bold 
cold 
fold 
gold 

behold 
cuckold 
enfold 
foretold 

hold 

freehold 

OISE, 

compare  OICE 

mould 

unfold 

noise 

counterpoise 

old 

uphold 

poise 

equipoise 

scold 

withhold 

Also    the   plurals   of   nouns, 
and  the  preterites  of  verbs  In 

sold 
told 
wold 

manifold 
marigold 

oy>  as  toys 

,  employs. 

Also 

the  preterites  of  verbs 

OIST 

in    oil, 

ole,     owl;     as     roll'd. 

bowl'd. 

foist 

moist 

hoist 

rejoic'd 

OLE,  compare  OWL 

OIT 

bole 

goal 

coal 

hole 

colt 

exploit 

dole 

jole 

quoit 

dacoit 

droll 

molo 

adroit 

foal 

pole 

106 


ON,   compare    UN  —  Cont. 


role 

console 

bonbon 

parson 

shoal 

Creole 

canon 

poison 

sole 

parole 

cannon 

prison 

stole 

pistole 

colon 

reason 

whole 

aureole 

felon 

season 

cajole 

girandole 

Iron 

squadron 

condole 

glrasole 

Jemon 

tendon 

jargon 

amazon 

OLN 

mammon 

battalion 

etol'n 

swol'n 

horizon 

cinnamon 

lexicon 

clarion 

OLT 

million 

dies  non 

myrmidon 

environ 

bolt 

holt 

orison 

halcyon 

colt 

moult 

pro  et  con 

criterion 

dolt 

thunderbolt 

simpleton 

diapason 

automaton 

phenomenon 

01.  VK 

pardon 

sine  qua  non 

solve 

Involve 

absolve 

resolve 

ONCE 

(see  UNCE) 

convolve 

revolve 

dissolve 

OND 

dome 
foam 
home 
loam 


OM  (see  UM) 

OMB  (see  OOM) 

mome 

roam 

tome 


bond 

conn'd 

donn'd 

fond 

pond 

abscond 

almond 


beyond 

despond 

second 

correspond 

diamond 

vagabond 


ONE,  compare  OWN 


OMP 

bone 

dethrone 

pomp 

swamp 

cone 

enthrone 

romp 

drone 

postpone 

groan 

monotone 

ON,  compare  UN 

hone 

telephone 

con 

swan 

loan 

moan 

don 

anon 

lone 

prone 

gone 

arson 

atone 

stone 

107 


ONE,  compare  OWN— Cont. 


OO,  compare  EW — Cont. 


tone 

alone 

undo 

billet-doux 

throne 

undertone 

Waterloo 

entre  nous 

zone 

withdrew 

cockatoo 

ONG 

yahoo 

kangaroo 

long 
prong 

along 
among 

OOD,  compare  UD.  UDE 

song 

belong 

brood 

mood 

strong 

ding-dong 

brew'd 

rude 

thong 

prolong 

coo'd 

woo'd 

throng 

bon-vivant 

food 

wrong 

ONK  (see  UNK) 
ONSn;  (see  UNCE) 
ONT,  compare  UNT 
ont  want 


OOP 


hoof 
proof 
roof 
wdof 


aloof 
behoof 
disproof 
reproof 


OO,  compare  EW                              OOK, 

compare  UCK 

blew 

you 

book 

rook 

blue 

accrue 

brook 

shook 

bcew 

ado 

cook 

took 

chew 

bamboo 

crook 

betook 

clue 

bas-blue 

fluke 

forsook 

coo 

canoe 

hook 

mistook 

lew 

crew 

look 

undertook 

loo 

drew 

pooh 

glue 

OOL, 

compare  TILE 

rue 

grew 

screw 

coup 

buhl 

spool 

sfirew 

fou 

cool 

stool 

slew 

canoe 

fool 

tool 

threw 

cuckoo 

pool 

befool 

through 

debut 

rule 

cesspool 

too 

imbrue 

school 

true 

shampoo 

two 

skldoo 

OOM, 

compare  UME 

who 

taboo 

bloom 

gloom 

woo 

tattoo 

doom 

groom 

ifs 


OOM,  compare  UME — Cont 


OOT,  compare  TJTE 


loom 

tomb 

boot 

moot 

plume 

whom 

coot 

root 

rheum 

womb 

fluto 

shoot 

room 

entomb 

hoot 

cheroot 

spoom 

loot 

uproot 

OON, 

compare  UNE 

OOTH 

boon 

lampoon 

booth 

soothe 

croon 

monsoon 

smooth 

moon 

noon 

OOVE 

(see  OVE) 

soon 

prune 

f  spoon 

poltroo*n 

OOZE 

(see  USE) 

swoon 

pontoon 

balloon 

quadroon 

OP 

basoon 
buffoon 

shalloon 
simoon 

chop 

trollop 

cartoon 
cocoon 
dragoon 

typhoon 
'honeymoon 
octoroon 

crop 
drop 
flop 

prop 
shop 
slop 

festoon 
lagoon 

pantaloon 

fop 
hop 

strop 
sop 

mop 

stop 

OOP 

pop 

swop 

bishop 

top 

coop 

sloop 

collop 

develop 

droop 

soup 

gallop 

envelop 

group 

stoop 

scallop 

hoop 

stoup 

loop 

troop 

OPE 

poop 

whoop 

cope 

aslope 

scoop 

nincompoop 

hope 

elope 

OOR,  compare  ORE.  URE 

grope 
mope 

antelope 
envelope 

boor 

your 

ope 

heliotrope 

moor 

amour 

pope 

horoscope 

poor 

contour 

rope 

interlope 

sure 

detour 

soap 

kaleidoscope 

tour 

paramour 

scope 

microscope 

slope 

misanthrope 

OOSE  (see  UCE) 

trope 

telescope 

109 


OR,  compare  ER.  ORE 


ORE,  compare  OOR 


corps 

counsellor 

ORB 

tor 

emperor 

boar 

whore 

war 

governor 

bore 

wore 

abhor 

flavour 

floor 

yore 

anchor 

horror 

four 

core 

author 

honour 

gore 

door 

doctor 

labour 

lore 

adore 

donor 

mirror 

more 

afore 

hector 

motor 

oar 

ashore 

sculptor 

parlour 

o'er 

claymore 

stupor 

prior 

ore 

deplore 

suitor 

sailor 

pore 

encore 

tailor 

metaphor 

pour 

explore 

tenor 

orator 

roar 

forebore 

traitor 

savior 

score 

foreswore 

tutor 

senator 

shore 

implore 

vendor 

warrior 

snore 

restore 

victor 

alligator 

soar 

albicore- 

ancestor 

ambassador 

sore 

hellebore 

auditor 

competitor 

store 

heretofore 

bachelor 

conspirator 

swore 

sycamore 

chancellor 

excelsior 

tore 

troubadour 

conqueror 

progenitor 

creator 

solicitor 

ORGE 

creditor 

forge 

disgorge 

ORCE 

(see  ORSE) 

gorge 

regorge 

ORCH 

OUK, 

compare  ALK 

porch 

torch 

cork 

pork 

scorch 

fork 

stork 

ork 

OBD 

board 

sword 

OHM 

cord 

abhorr'd 

form 

reform 

ford 

aboard 

storm 

transform 

hoard 

accord 

conform 

misinform 

horde 

afford 

deform 

multiform 

lord 

implor'd 

inform 

uniform  ( 

roar'd 

record 

perform 

no 


ORBf,  compare  A\CN 


OSE.  OZE 


born 

adorn 

chose 

disclose 

borne 

foreborne 

close  (verb) 

dispose 

corn 

foresworn 

doze 

enclose 

horn 

forlorn 

foes 

expose 

lorn 

lovelorn 

froze 

foreclose 

morn 

suborn 

goes 

Impose 

scorn 

Capricorn 

hose 

oppose 

shorn 

chloroform 

nose 

propose 

sorn 

multiform 

pose 

repose 

sworn 

overborne 

prose 

suppose 

thorn 

thunderstorm 

rose 

transpose 

torn 

unicorn 

those 

discompose 

worn 

uniform 

toes 

interpose 

arose 

presuppose 

ORSE,   ORCE 

compose 

recompose 

depose 

coarse 

morse 

corse 

torse 

OSS 

course 

endorse 

boss 

chaos 

force 

remorse 

cross 

emboss 

horse 

unhorse 

loss 

doss 

moss 

dross 

OUT,  compare  OUGHT 

across 

albatross 

x 

bathos 

asbestos 

court 

wart 

fort 

cohort 

OST 

mort 

consort 

port 
short 
snort 

distort 
exhort 
extort 

cost 
frost 
lost 

accost 
holocaust 
exhaust 

toss'd 

sort 

report 

tort 

resort 

OT 

retort 

blot 

knot 

ORTH 

clot 

lot 

cot 

trot 

forth 

north 

rot 

yacht 

fourth 

grot 

allot 

hot 

ballot 

OS  (see  OSS) 

Jot 

bigot 

w 


OT — Cont. 


OU  (see  OO  and  OW) 


boycot 

shot 

OUCH 

complot 

sot 

couch 

slouch 

forgot 

spot 

crouch 

vouch 

apricot 

squat 

ouch 

avouch 

not 

counterplot 

pouch 

barouche 

plot 

idiot 

pot 

melilot 

OUD 

quat 

polyglot 

rot 

cloud 

•aloud 

crowd 

enshroud 

OTCH 

loud 

o'ercloud 

blotch 

notch 

proud 

o'ershroud 

botch 

watch 

shroud 

crotch 

Also  the 

preterites  of  i 

verbs  in  <w;  as  bow'd. 


OTD 


bloat 

remote 

VI 

JUM 

boat 

anecdote 

This  much  abused  combina- 

coat 

mote 

tion  of  letters  —  the  terror  of 

float 

note 

foreigners   who   try   to   speak 

goat 

quote 

our  tongue  —  has  no  fewer  than 
nine  different  sounds,  as  enum- 

gloat 

rote 

erated  below. 

groat 

smote 

lote 

throat 

cough  as  in  off 

moat. 

tote 

chough 

afloat 

vote 

rough 

denote 

•wrote 

slough 

.as  in  stuff. 

devote 

antidote 

sough 

lifeboat 

asymptote 

tough               J 

misquote 
promote 

petticoat 
table   d'hote 

b°ushK             [as  in  cow. 
plough 

hough 

•as  in  lock. 

OTH 

lough 

broth 

sloth 

hiccough  as  in 

cup 

cloth 

troth 

slough  as  in  slow 

froth 

wrath 

through  as  in 

too 

moth 

dough 

•as  in  too 

though 

OTIII-: 

(see  OOTH) 

ought 

•as  in  awe. 

clothe 

loathe 

thought 

OUGHT,  compare  ORT 


OUP  (see  OOP) 


might 

sought 

OUR,  compare  OOR,  C 

bought 

taught 

bower 

power 

brought 

thought 

dower 

scour 

caught 

wrought 

cower 

sour 

fought 

besought 

flour 

tower 

fraught 

bethought 

hour 

deflower 

naught 

forethought 

lour 

devour 

nought 

methought 

ought 

OVR2V 

(see  ORN,  UP 

OUL  (see  OLE.  OWL) 

OULD  (see  OLD,  UD) 

OUNCE 

bounce  ounce 

flounce  pounce 

denounce  renounce 
pronounce 

OUND 


OURS 

ours 

The  plurals  of  nouns  and  the 
third  person  singular  of  verbs 
in  our,  <m-er;  as  hours,  towers, 
devours. 

OURSE  (see  ORSE) 

OUS  (see  US) 
OUSI3,  compare  OWSE 


bound 

aground 

found 

around 

chouse 

bouse 

frown'd 

compound 

dowse 

louse 

ground 

confound 

grouse 

mouse 

hound 

expound 

mound 

profound 

OUT 

pound 

propound 

bout 

spout 

round 

rebound 

clout 

sprout 

sound 

resound 

doubt 

stout 

wound(to  wlnd)surround 

drought 

tout 

abound 

gout 

trout 

grout 

about 

OUNT 

out 

devout 

count 

discount 

pout 

misdoubt 

fount 

dismount 

rout 

redoubt 

mount 

miscount 

scout 

throughout 

account 

remount 

shout 

without 

amount 

surmount 

snout 

113 


OII'I'U 

OW,  compare  OO— 

drought 

south 

As  in  low. 

tnoutb 

foreknow            window 

(The 
rhyme.) 

verb    which    has 

pillow                  winnow 
sallow                 yellow 
shallow               outgrow 

OVEx 

swallow              overflow 

As.  In  love 

wallow                overthrow 
willow 

dove 

shove 

glove 

above 

As  in  now 

love 

bough                  brow 

As  In  prove 

cow                      sow 

move 

disprove 

frau                      thou 

groove 

disapprove 

how                       vow 

prove 

improve 

now                     allow 

approve 

reprove 

plough                 avow 

prow                    endow 

As  in  wove 

row                      disallow 

clove 

strove 

'drove 

throve 

OWL,  compare  OLE 

grove 

wove 

hove 

alcove 

The  sounds  of  owl  in   bowl 

rove 

behove 

and  howl,  and   of  ole   in  hole 

stove 

interwove 

are  so  similar  as  to  be  allowed 
to     pass     as     almost     perfect 

OW,  compare  OO 

rhymes. 

AS  Jn  low 

bowl                     roll 

blow 

show 

cowl                     scowl 

bow 

slough 

fowl                     soul 

crow 

slow 

ghoul                  toll 

flow 

snow 

growl                  troll 

glow 

stow 

howl                     control 

grow 

strow 

owl                      enroll 

know 

throw 

poll                      patrol 

low 

trow 

prowl 

mow 

below 

owe 

bestow 

OWN,  compare  ONE 

row 

billow 

The  sounds  of  own  in  blown 

sew 

callow 

and  frovrn,  and  of  one  in  ston« 

sow 

fallow 

are    so    similar    as    to    be    al- 

114 


lowed  to  pass  aa  almost  per* 

OZE 

(see  OSE> 

feet  rhymes. 

blown                  noun 
brown                 own 

U 

(see  EW) 

clown                   shown 

crown                   strewn 

_ 

UB 

down                    thrown 

drown                  town 

chub 

rub 

frown                  adown 

club 

shrub 

cub 

slub 

gown                   embrown 

drub 

snub 

mown                  renown 

dub 

tub 

grub 

hubbub 

OWSB 

hub 

beelzebub 

browse               touse 

house  (verb)      trouse 

UBE 

rouse                    carouse 

spouse                 espouse 

cube 

rube 

Also,    the    plurals    of    some 

tuba 

Jujube 

nouns,    and    the    third    person 

singular    of    verbs    in    on;   as 

brows,  allows. 

UCE 

OX 

deuce 

disuse  (noun) 

goose 

excuse 

box                       orthodox 

Juice 

induce 

fox                        paradox 

moose 

misuse 

ox                          heterodox 

puce 

obtuse  • 

equinox 

sluice 

produce 

Also   the   plurals   of   nouns, 

spruce 

propose 

and  the  third  person  singular 

truce 

recluse 

of    verbs    In    ockj    as    cocks, 

use  (noun) 

reduce 

mocks. 

abuse 

seduce 

obstruse 

traduce 

OY 

conduse 

Introduce 

boy                      annoy 

deduce 

buoy                    convoy 

cloy                     decoy 

UCH 

coy                      destroy 

Joy                       employ 

crutch 

such 

toy                     enjoy 

much 

touch 

alloy                     sepoy 

hutch 

retouch 

115 


UCK 


UDE,  compare  UD — Cont. 


buck 

ducx 

luck 

muck 

pluck 


suck'd 
conduct 
duck'd 
deduct 


blood 

bud 

could 

cud 

flood 

good 

hood 

mud 

scud 

should 


struck 
suck 
truck 
tuck 


TTCT 


Instruct 
obstruct 
aqueduct 
viaduct 


UD 


stood 

stud 

rud 

wood 

would 

brotherhood 

likelihood 

neighborhood 

understood 

widowhood 


habitude 

platitude 

interlude 

plenitude 

prude 

promptitude 

nude 

servitude 

rood 

solitude 

rude 

beatitude 

lassitude 

ingratitude 

latitude 

inaptitude 

longitude 

similitude 

magnitude 

solicitude 

multitude 

vicissitude 

Also  the  preterites  of  some 
verbs  in  ew;  as  view'd. 


UDGE 

sludge 

smudge 

trudge 

adjudge 

prejudge 


UB  (see  EW,  OO) 


UPP 


bluff 

counterbuff 

TIDE,  compare  UD 

buff 

rough 

exude 

chough 

ruff 

include 

chuff 

slough 

Intrude 

cuff 

snuff 

L                  obtrude 

gruff 

stuff 

rrotrude 

huff 

tough    . 

seclude 

luff 

enough 

I                 altitude 

puff 

rebuff 

ide             aptitude 

e                  attitude 

TTQ 

fortitude 

drug 

hug 

le              gratitude 

dug 

Jug 

116 


UG — Cont. 
mug  slug 

pug  snug 

rug  tug 

shrug  humbug 

VICE  (see  OOSE) 

UISE  (see  ISE.  OOZE) 

HIT  (see  UTE 


I'KC 


duke 
fluke 
puke 


chibouque 
rebuke 


II.    M.I. 

bashful 
brimful 
careful 
dreadful 
faithful 
grateful 
thoughtful 
beautiful 
bountiful 
dutiful 
fanciful 
merciful 
sorrowful 

I  wonderful 

I  worshipful 

ULE,  compare  OOL» 


mule 
pule 
yule 
ferule 


bulge 
divulge 


reticule 
redicule 
vestibule 


ULGE 

indulge 


ULK 

bulk 

skulk 

hulk 

sulk 

ULP 

gulp 

sculp 

pulp 

ULSE 

pulse 

impulse 

convulse 

repulse 

expulse 

ULT 

cult 

insult 

adult 

occult 

consult 

result 

exult 

catapult 

indult 

difficult 

UM 

chum 

laudanum 

come 

phantom 

crum 

succumb 

crumb 

winsome 

drum 

asylum 

dumb 

burdensome 

plum 

cumbersome 

scum 

frolicsome. 

slum 

humoursome 

sum 

mausoleum 

swum 

maximum 

thrum 

glum 

thumb 

gum 

become 

hum 

gruesome 

mum 

gypsum 

numb 

handsome 

millennium 

hansom 

minimum 

humdrum 

opium 

117 


UM—  Cont. 

UNCE 

overcome 

encomium 

unce 

once 

pendulum 

interregnum 

quarrelsome 

memorandum 

UNCH 

solatium 

opprobrium 

bunch 

munch 

troublesome 
auditorium 
crematorium 

palladium 
pandemonium 
residuum 

crunch 
hunch 
lunch 

punch 
scrunch 

delirium 

symposium 

gymnasium 

UNO 

fund 

refund 

UME,  compare  OOM 

shunn'd 

moribund 

stunn'd 

fume 

perfume 

plume 

presume 

UNE,  compare  OON 

assume 

resume 

» 

consume 

volume 

hewn 

untune 

deplume 

tune 
jejune 

importune 

UMP 

UNG 

bump 

frump 

bung 

stung 

clump 

jump 

clung 

sung 

lump 

stump 

dung 

swung 

plump 

thump 

flung 

tongue 

pump 

trump 

hung 

wrung 

rump 

rung 

young 

slung 

among 

TIN,  compare  ON 

sprung 

unsung 

strung 

done 

ton 

dun 

tun 

UNGE 

gun 

won 

lunge 

sponge 

none 

begun 

plunge 

expunge 

nun 

boatswain 

one 

coxswain 

UNK 

pun 

undone 

bunk 

shrunk 

run 

comparison 

chunk 

skunk 

shun 

garrison 

drunk 

slunk 

son 

onion 

hunk 

stunk 

spun 

skeleton 

junk 

sunk 

stun 

union 

monk 

trunk 

sun 

punk 

118 


UNT 

blunt 

grunt 

brunt 

hunt 

front 

wont 

UP 

cup 

hiccough 

pup 

stirrup 

sup 

syrup 

UPT 

abrupt 

supp'd 

corrupt 

interrupt 

UR 

(see  ER) 

URB 

curb 

disturb 

herb 

suburb 

verb 

IIRCU 

(see  ERCH) 

i  ni) 

bird 

word 

curd 

absurd 

gird 

rcfcrr'd 

stirr'd 

URE 

cure 

obscure 

dure 

ordure 

ewer 

procure 

lure 

secure 

pure 

calenture 

brochure 

coverture 

conjure 

skewer 

demure 

abjure 

endure 

adjure 

immure 

allure 

inure 

azure 

manure 

epicure 

mature 

forfeiture 

URE— Cont. 

immature  sinecure 

miniature  investiture 

overture  temperature 

portraiture  primogeniture 

URF 

surf 
turf 

URGE  (sec  ERGE) 
URK   (see   IRK) 

URL 

earl 

furl 

twirl 

uncurl 

unfurl 


churl 

curl 

girl 

hurl 

pearl 


URLD 


world 

The    preterites    of   verbs    in 
urlj  as  furl'd,  hurl'd. 

URN  (see  ERN) 
URP 


chirp, 
discerp 


extirp 
usurp 


URSE  (see  ERSE) 

URST 

burst  worst 

curst  accurst 

durst  vers'd 

first  dispers'd 

thirst  immers'd 

URT  (see   ERT) 


us, 

ous 

US, 

OUS  —  Cont. 

buss 

glorious 

numerous 

timorous 

bus 

tyrannous 

odious 

traitorous 

thus 

valorous 

odorous 

treacherous 

truss 

venomous 

ominous 

indigenous 

us 

vigorous 

omnibus 

libidinous 

bulbous 

villainous 

overplus 

oleaginous 

bumptious 

adventurous 

perilous 

magnanimous 

callous 

adulteress 

poisonous 

miraculous 

caucus 

ambiguous 

ponderous 

necessitous 

cautious 

calamitous 

populous 

obstreperous 

circus 

cadaverous 

prosperous 

odoriferous 

crocus 

calcareous 

pugnacious 

omnivorous 

discuss 

cantankerous 

ravenous 

pachydermatous 

focus 

diaphanous 

rigorous 

ridiculous 

gracious 

fortuitous 

riotous 

solicitous 

grievous 

gratuitous 

ruinous 

somniferous 

heinous 

harmonious 

scandalous 

thaumaturgus 

litmus 

hilarious 

scrupulous 

victorious 

mucus 

hocus-pocus 

sedulous 

viviparous 

nervous 

idolatrous 

serious 

vociferous 

nimbu- 

Ignis  fatuus 

slanderous 

ubiquitous 

plous 

impecunious 

sonorous 

unanimous 

porous 

Impetuous 

stimulous 

ungenerous 

rebus 

ignoramus 

vicious 

Incredulous 

USB 

amorous 

glutinous 

arquebus 

gluttonous 

booze 

accuse 

bibulous 

hazardous 

bruise 

amuse 

blasphemous 
boisterous 

hideous 
humorous 

cnoose 
lose 

diffuse 
disuse  (verb) 

clamorous 

Impetuous 

muse 

excuse 

credulous 

Incubus 

noose 

Infuse 

curious 

Infamous 

ooze 

misuse 

dangerous 

lecherous 

ruse 

peruse 

delicious 

libellous 

shoes 

refuse 

dolorous 

litigious 

use  (verb) 

suffuse 

emulous 

luminous 

abuse 

transfuse 

fabulous 

marvellous 

Also    the 

plurals    of    noun 

frivolous 

mischievous 

and  the  third  person  slngula 

garrulous 

mountainous 

of  verbs  in 

«TT  and  ncj  as  dewj 

generous 

mutinous 

sues. 

120 


USH 


blush 

hush 

brush 

lush 

bush 

push 

crush 

rush 

flush 

thrush 

frush 

tush 

USK 

brusque 

musk 

lu-sk 

tusR 

husk 

TIST 

bust 

dlscuss'd 

crust 

disgust 

dust 

distrust 

3ust 

focuss'd 

lust 

locust 

must 

intrust 

rust 

mistrust 

thrust 

rubust 

trust 

unjust 

adjust 

UT 

butt 

slut 

cut 

smut 

glut 

soot 

gut 

strut 

hut 

abut 

jut 

gamut 

nut 

catgut 

rut 

englut 

scut 

rebut 

shut 

walnut 

TJTCH 

clutch 

hutch 

crutch 

much 

UTCH—  Cont. 

such 

retouch 

touch 

UTE, 

compare  OOT 

bruit 

recruit 

brute 

refute 

cute 

repute 

flute 

salute 

fruit 

absolute 

lute 

attribute 

mute 

constitute 

newt 

contribute 

suit 

destitute 

acute 

dissolute 

compute 

execute 

confute 

institute 

depute 

parachute 

dilute 

persecute 

dispute 

prosecute 

Impute 

resolute 

minute 

substitute 

pollute 

UX 

crux 

lux 

dux 

reflux 

flux 

Also  the  plurals  of  nouns 
and  the  third  person  singular 
of  verbs  in  uck;  as  trucks, 
sucks. 


As  an  end  letter  y  has  two 
sounds,  the  long  i  as  in  mile, 
and  the  short  1,  as  in  mill,  the 
former  rhyming  perfectly 
with  such  words  as  die,  »lgb, 
the  latter  allowably  with  he, 
•ee,  etc.  Both,  however,  are 


121 


used    Indiscriminately    by    all 

Y  lone  as  in  eye  —  Cont. 

our  poets; 

but  for  convenience' 

ratify 

terrify 

sake,  lists 

of  words  of  the  two 

rectify 

testify 

sounds    are    given    separately. 

sanctify 

k 
verify 

satisfy 

villlfy 

Y  long  as  in  eye. 

scarify 

vivify 

ay 
buy 

cry 

die 

fortify 
fructify 
gratify 
glorify 

signify 
simplify 
specify 
stupefy 

indemnify 
intensify 
lullaby 
solidify 

:    dry 

horrify 

eye 

Justify 

Y  short. 

as  ty  In  duty. 

tie 

magnify 

fry 

modify 

beauty 

happy 

hie 

mollify 

bonnie 

haughty 

high 

sigh 

brandy 

hearty 

He 

sky 

busy 

heavy 

nigh 

sly 

comely 

homely 

pie 

spy 

cosy 

honey 

ply 

sty 

crazy 

hourly 

pry 

thigh 

crusty 

humbly 

rye 

tie 

curly 

hungry 

defy 

try 

dally 

hurry 

deny 

vie 

dainty 

Jaunty 

descry 

why 

dally 

Jetty 

imply 

ally 

dandy 

Jerky 

espy 

apply 

doubly 

Jockey 

outvie 

awry 

dreamy 

Jury 

outfly 

belie 

duly 

Justly 

rely 

comply 

dusky 

Illy 

reply 

decry 

duty 

ruddy 

supply 

mortify 

empty 

rudely 

untie 

multiply 

filly 

saintly 

amplify 

pacify 

gaily 

saucy 

beautify 

petrify 

gaudy 

scurvy 

certify 

prophesy 

ghastly 

singly 

crucify 

purify 

glory 

sJmply 

deify 

puterfy 

gory 

sleepy 

dignify 

qualify 

greedy 

snappy 

edify 

ramify 

grumpy 

sorry 

falsify 

rarefy 

guilty 

sunny 

1-.' 


Y  short,  as  ty  In  duty — Cont.       T  short,  as  ty  In  duty — Cont. 


steady 

Injury 

victory 

credulity 

strophe 

infamy 

villainy 

curiosity 

study 

infancy 

votary 

customary 

sweetly 

Infantry 

watery 

declivity 

tally 

jollity 

wearily 

deformity 

tardy 

knavery 

wantonly 

immaturity 

thirsty 

laity 

womanly 

immutability 

trophy 

laxity 

worthily 

impartiality 

truly 

legacy 

absurdity 

impecunloslty 

trusty 

leprosy 

activity 

impetuosity 

twenty 

lethargy 

adversity 

impiety 

ugly 

levity 

affability 

Impossibility 

vainly 

liberty 

affinity 

importunity 

vary 

library 

agility 

impurity 

wary 

livery 

alaclty 

inability 

weary 

lottery 

allegory 

inaccuracy 

wealthy 

loyalty 

ambiguity 

incapacity 

whisky 

lunacy 

anatomy 

incivility 

worthy 

majesty 

animosity 

inclemency 

academy 

malady 

antiquity 

incongruity 

agony 

melody 

anxiety 

inconsistency 

amity 

memory 

apostasy 

inconstancy 

anarchy 

misery 

apostrophe 

indemnity 

apathy 

modesty 

aristocracy 

inequality 

artery 

monarchy 

astronomy 

infidelity 

augury 

nrrummery 

austerity 

infinity 

battery 

mutiny 

authority 

infirmary 

beggary 

mystery 

auxiliary 

inflexibility 

bigamy 

nicety 

aviary 

insanity 

bigotry 

noisily 

brevity 

instability 

blasphemy 

novelty 

calamity 

Integrity 

botany 

nunnery 

capacity 

intensity 

bravery 

nursery 

captivity 

liberality 

bribery 

penalty 

catastrophe 

loquacity 

brevity 

penury 

complexity 

luminosity 

calumny 

perfidy 

concavity 

preliminary 

haughtily 

perjury 

confederacy 

priority 

history 

piety 

conformity 

probability 

honesty 

pillory 

congrulty 

prodigality 

idolatry 

piracy 

conspiracy 

profanity 

Industry 

pleurisy 

cosmography 

-profundity 

123 


Y  short,  as  ty  In  duty— Cont. 


Y  short,  as  ty  In  duty — Cont. 


^propensity 

nobly 

courtesy 

prodigy 

^prosperity 

noisy 

cruelty 

progeny 

radically 

orgie 

daintily 

prosody 

rapidly 

pamly 

dairy 

purity 

rascality 

palfrey 

\decency 

quality 

reality 

paltry 

destiny 

quantity 

reciprocity 

party 

diary 

raillery 

rotundity 

parsley 

dignity 

rectory 

rudimentary 

pastry 

drapery 

regency 

satiety 

petty 

drollery 

remedy 

security 

pigmy 

drudgery 

ribaldry 

seniority 

poorly 

ecstasy 

rivalry 

sensibility 

portly 

elegy 

robbery 

sensuality 

posy 

embassy 

royalty 

severity 

pretty 

enemy 

salary 

simplicity 

princely 

energy 

sanctity 

sincerity 

proudly 

equity 

secrecy 

sobriety 

pulley 

eulogy 

simony 

society 

purely 

euphony 

slavery 

solemnity 

queenly 

factory 

eorcery 

solidity 

quickly 

family 

strawberry 

soliloquy 

racy 

fallacy 

subsidy 

sovereignty 

rally 

fealty 

surgery 

sublimity 

rarely 

fecundity 

symmetry 

kindly 

rosy 

finery 

sympathy 

kingly 

rocky 

flattery 

symphony 

knightly 

roughly 

foolery 

tapestry 

lady 

ruby 

foolishly 

tragedy 

lastly 

canopy 

gaiety 

treachery 

lonely 

cavalry 

gallantry 

treasury 

lordly 

charity 

gallery 

trinity 

lovely 

chastity 

galaxy 

trumpery 

.manly 

chemistry 

granary 

tyranny 

marry 

chivalry 

gravity 

urgency 

meanly 

clemency 

poesy 

unity 

merry 

colony 

poetry 

usury 

misty 

comedy 

policy 

vacancy 

mouldy 

company 

potency 

vanity 

nasty 

constancy 

..-•poverty 

verily 

neatly 

cosily 

primary 

democracy 

nearly 

contrary 

privacy 

discovery 

124 


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